LIBRARY 

OF   THE 

University  of  California. 

Class 


HARMONIC    ANALYSIS 


— BY- 


Friedrich  Johann  Lehmann 


Professor    of    Theory   in     Obej-Iin     Conservatory    of    Music^ 

author  of    Treatise   on    Simple    Counterpoint 

and    Lessons    in    Harmony. 


Published  by 

A.  G.  Comings  &  Son, 

OBERLIN,    OHIO 

Copyright.    1910.   by  A.   C   Comints  A  Son.  Oberlin.   O. 


PREFACE. 


It  is  hardly  necessary  to  enter  into  a  discussion  as  to  the  value  of  "Analy- 
sis of  Harmony  and  Form"  in  gaining  a  clearer  and  more  intelligent  view 
of  music  and  a  keener  appreciation  of  it.  That  is  taken  for  granted  by  all 
who  have  made  a  serious  study  of  the  subject. 

There  are  many  students  who  have  undoubted  executive  ability  but  who 
have  no  power  of  invention  in  writing  music.  It  is  for  the  purpose  of  giving 
students  of  this  kind  a  more  intelligent  view  of  the  structure  of  music,  both 
as  to  harmony  and  form,  that  a  course  in  the  "Analysis  of  Harmony  and 
Form"  was  inaugurated  in  Oberlin  C.'onservatory  of  Music.  That  this  was 
wise  has  been  proven  time  and  again  during  the  eight  years  that  it  has  been 
in  use.  The  student  becomes  more  intimately  acquainted  with  the  masters, 
their  peculiarities  and  mannerisms,  thus  enabling  him  to  give  a  much  more  in- 
telligent  interpretation   of   their  works. 

As  an  aid  in  memorizing  music,  analysis  also  has  great  value.  It  en- 
ables a  student  at  a  glance  to  see  the  harmonic  and  formal  structure  which 
provides  him  in  a  way  with  guide  posts  in  the  shape  of  harmonic  progressions 
and  formal  divisions  to  lead  him   on. 

It  has  also  been  found  to  be  an  inspiration  to  some  to  continue  the 
study  of  advanced  theory  and   free   composition. 

Tt  is  not  the  plan  of  this  book  to  cover  the  entire  ground  of  iiarmonir 
analysis;  that  is  obviously  impossible  in  twenty-four  lessons.  It  is,  however, 
its  plan  to  present  material  in  such  a  manner  that  after  its  own  completion 
tho  student  may  continue  the  work  of  analysis  by  himself,  taking  up  entire 
compositions  where  only  excerpts  have  been  taken  and  studying  the  peculi- 
arities of  composers  and  of  schools.  If  the  work  has  done  this  its  object  has 
been  accomplished. 

It  is  primarily  a  work  for  the  class  room,  assigning  definite  lessons,  avoid- 
ing any  discussion  of  points  in  notation,  etc.,  on  which  there  is  a  difference 
of  opinion,  and  couched  in  language  that  is  not  too  technical. 

A  knowledge  of  harmony  is  presupposed,  nevertheless  chord  construc- 
tions and  a  few  other  points  have  been  explained  to  some  extent. 


236370 


Ill  the  st'loction  ot  tlie  material  to  be  analyzed  the  author  has  endeavored 
to  gather  it  from  such  sources  that  the  student  may  come  into  toucli  with 
many  different  composers  of  different  schools.  Not  many  of  the  more  com- 
plex of  the  modern  compositions  have  been  selected  since  a  still  wider  ex- 
perience is  needed,  both  as  an  analyst  and  in  comprehension,  than  a  student 
may  have  at   this   time. 

In  the  lesson  on  Enharmonies  it  was  necessary  to  touch  upon  modulation 
before  exercises  containing  modulations  were  regularly  taken  up.  This  lesson 
might  have  been  put  after  modulation  but  since  neither  modulation  nor  Al- 
tered Chords  can  be  analyzed  without  involving  Enharmonies  it  was  thought 
better  to  put  that  lesson  in  its  present  location. 

Difficulty  has  been  experienced  in  giving  an  exact  limit  to  the 
province  of  the  different  harmonic  structures,  as  when  a  chord  should 
he  considered  an  Attendant  chord,  or  when  an  Altered  chord  (chord  of  the 
Augmented  sixth,  Neapolitan  sixth,  etc.,)  and  when  a  change  of  key  has 
taken  place.  Time  value,  the  ear,  and,  not  least,  personal  opinion  have  so 
much  weight  in  the  above  that  the  author  knows  full  well  that  no  exact 
limits  can  be  set  to  the  province  of  these  chords.  Differences  of  opinion  will 
also  occur  as  to  whether  a  change  of  the  lowest  part  affects  the  ear  as  change 
of  position  of  the  chord;  whether  the  passing  seventh  and  ninth  are  heard  as 
such  or  merely  as  passing  tones;  whether,  in  broken  chords,  several  groups  of 
tones  taken  together  give  a  single  chord  effect  or  if  each  group  represents  a 
chord  in  itself,  and  to  the  above  may  be  added  many  other  points  on  which 
no  definite  instruction  can  be  given.  In  these  the  individual  must  decide  for 
himself. 

The  author  has  endeavored  to  give  directions  that  will  enable  the  student 
to  make  an  intelligent  analysis  of  such  points  as  may  be  in  dispute.  It  is 
to  be  hoped  however  that  the  teacher's  view  will  be  broad  enough  to  recognize 
good  and  reasonable  solutions  which  have  been  reached  without  a  rigid 
adherence  to  the  text. 

Under  Modulation  such  material  has  been  considered  as  will  give  the 
student  an  intelligent  view  of  this  field  and  enable  him  to  explain  any  modu- 
lations which  he  may  meet. 

It  has  been  thought  well  to  dwell  a  little  more  fully  than  is  customary, 
on  the  Greek  Modes,  especially  since  they  are  used  so  frequently  in  modern 
music. 

In  a  few  instances  the  exercises  have  been  slightly  altered  or  marked  so 
as  not  to  present  material  for  analysis  that  is  in  advance  of  the  lesson. 

The  lessons  have  been  outlined  primarily  for  use  in  Oberlin  Conservatory 
of  Music. 

June  2,   1909. 


TABLE    OF    CONTENTS. 


HARMONIC  ANALYSIS 
ERRATA 

Ex.     23,  2nd  measure  3<.l  beat,  natural  before  a. 

27,    3d    measure  1st  beat,  shift  natural  up  to  c. 
29,  2nd  measure  1st  beat,  shift  sharp  down  to  c. 

38,  4th  meas..re  2nd  beat  a  in  bass  should  be  marked  app. 

39,  Cap.  C  for  name  of  key. 
53,  6th  measure  1st  beat,  natural  for  a. 
55,  6th  measure  3d  beat  add  b  in  alto. 

105,  6th  measure  3d  beat,  a  sharp  not  a  natural. 

141,  9th  measure  2nd  beat,  a  not  g  in  sop. 

161,  1st  measure  1st  beat,  flats  for  f  &  ^.  > 

167,  3d   measure  1st  beat,  natural  for/. 

177,  1st  measure  1st  beat  naturals  for  both  g's. 

184,  2nd  measure  sharp  for  first  a  &  natural  for  second  a. 

190,  7th  measure  2nd  &  3d  beats  c  not  h,  in  alto. 

192,  3d  measure  lower  stafT  treble  clef, 

232,  7th  measure  ^^  sharp  in  sop.   not  b. 

247,  7th  measure  4th  beat  g  (1st  line)  in  bass. 

256,  9th  measure  2nd  beat  natural  for  g  in  bass. 

257,  6th  measure  3d  beat,  alto  a  natural  &/ sharp  not  a  sharp  &/ natural. 


Lesson       XIX.     Reduction   128-136 

Lesson 

XX-XXIV.     Review   Exercises    136-156 


la  the  selection  of  the  material  to  be  analyzed  the  author  has  endeavored 
to  gather  it  from  such  sources  that  the  student  may  come  into  touch  with 
many  different  composers  of  different  schools.  Not  many  of  the  more  com- 
plex of  the  motlern  compositions  have  been  selected  since  a  still  wider  ex- 
perience is  needed,  both  as  an  analyst  and  in  comprehension,  than  a  student 

may    1"5t«i    at     thie    fimp 

befo 
migt 
tere( 
bett. 


prov 
l;e  c 
Aug 
take 
muc 
limi 
also 
off 
sucl: 
torn 
choi 


him 


to  ■ 
to  I 
goo 
adh 

stU' 

lati 


on 
mu 


of  Music. 

June   2,   1909. 


TABLE    OF    CONTENTS. 


Lesson 

I. 

Lesson 

IL 

Lesson 

TIL 

Lesson 

IV. 

Lesson 

V. 

Lesson 

VI. 

Lesson 

VII. 

Lesson 

VIIL 

Lesson 

IX. 

Lesson 

X. 

TjESSON 

XL 

Lesson 

XI L 

Lesson  XII  L 
Lesson       XIV. 

Lesson         XV. 

Lesson       XVI. 

Lesson     XVI  I. 

Lesson  XVIII. 
Lesson  XIX. 
Lesson 

XX-XXIV. 


PAGE. 

Triads  and  Chords  of  the  Seventh 1-7 

The    Dominant    Ninth,    Suspension.      Eetardation    and 

Passing-Tone    7-1:^ 

The  Embellishment  and  the  Appoggiatura 13-19 

Attendant  Chords,  and  Broken  C'hords  and  Suspen- 
sion   (eon.) 19-26 

The  Anticii)ation,  and  the  Pedal  Point 26-34 

The  Ornamental  Resolution,  and  the  Free  Tone 3.'5-41 

•  Enharmonies    41-49 

Alterations   of  tiie   Supertonic   Seventh   and   of   Chords 

of  the  Seventh  on  Other  Degrees 49-54 

Chords  of  the  Augmented  Sixth S.^-Gl 

Chords  of   the  Augmented   Sixth   in   Other   than    Their 

Conventional  Form,  and  the  Neapolitan  Sixth 61-68 

The  Skip  Resolution    6S-73 

Alodulntion.     Entering  tlie  New  Key  through  the  Dom- 
inant Seventh  Chord.     Common  Chord  Modulations.        73-82 
Modulation.       Entering    the    New    Key    through    the 
Diminished  Seventh  on  the   Raised  Fourth   Degree, 

and  through  the  Augmented  Sixth  Chords 82-89 

Modulation.  Entering  the  New  Key  through  the  Nea- 
]!olitan  Chord,  by  Alterations  of  the  Diminished 
Seventh,   and   by  the  Deceptive   Resolution   of   the 

Dominant   Seventh    89-96 

Succession  of  Keys  witliout  Modulating,  and  Consecu- 
tive Tonics   96-10.-] 

Consecutive     Diminished     Seventh     Chords,     Chromatic 

Passing  Chords,  and  the  Sequence 104-114 

Two    Simultaneous    Harmonies.      One    and    Two    Part 

Writing  114-122 

The  Churcli  Modes 122-128 

Reduction   128-136 

Review   Exercises    136-156 


INTRODUCTION. 


Harmonic  analysis  is  the  art  of  accounting  for  everything  in  the  har- 
monic and  melodic  structure  of  music. 

In  analyzing  the  work  in  the  following  lessons  everything  in  its  harmonic 
and  melodic  structure  should  be  considered  and  accounted  for  harmonically. 
This  involves  naming  the  key,  marking  the  chords  and  their  inversions  and, 
in  later  lessons,  the  non-harmonic  devices  used.  Be  prepared  to  justify  the 
analysis.     It  must  be  clear  why  the  chords  have  been  marked  as  they  are. 

The  analysis  is  to  be  written  into  the  text  as  illustrated  in  the  examples. 

When  several  solutions  are  possible  write  out  each  with  different  colored 
inks  or  pencils,  stating  your  preference  however.  Write  out  full  enough  so 
that  no  tax  on  the  memory  is  necessary. 

Since  the  exercises  to  be  analyzed  are  but  excerpts  of  larger  works  the 
signature  does  not  always  indicate  the  key.  Always  notice  before  marking  the 
key,  whether  accidentals  have  been  used  changing  it  from  that  of  the  sig- 
nature. 

The  lessons  are  accompanied  by  many  analyzed  examples.  Examine  these 
carefully.  They  are  not  only  valuable  as  illustrating  the  points  in  question, 
but  will   no   doubt  also  prove  helpful   in   the   general   matter  they   contain. 

Spell  chords  accurately.  In  constructive  work  in  harmony  the  student 
often  forms  the  habit  when  spelling  chords  of  disregarding  the  sharps  or 
flats  since  the  signature  takes  care  of  those.  In  analysis  it  is  absolutely 
necessary  for  a  correct  solution,  to  make  the  spelling  complete,  always  to 
mention  the  sharp  or  flat.  To  illustrate,  in  spelling  the  dominant  seventh 
chord  in  the  key  of  D  major,  spell  it  A,  Cg.  E,  G,  and  not  A,  C,  E,  G,  think- 
ing that  the  signature  will  take  care  of  the  sharp. 

Grace  notes  are  to  be  analyzed  the  same  as  any  others. 

Ornamentations  that  are  written  out  fully  should  also  be  analyzed.  When 
these  are  indicated  by  a  sign  only  they  are  not  to  be  recognized  in  the  analysis. 

Signs  used  for  marking  will  be  mentioned  as  the  occasion  demands. 

It  is  often  well  to  begin  working  backwards  since  it  is  sometimes  neces- 
sary to  see  the  progression  of  a  chord  to  tell  what  it  is. 

As  a  further  aid  in  the  following  work  the  author  recommends  that,  he- 
ginning  with  Lesson  II,  the  student  take  up  compositions  of  different  kinds 
and  find  in  them  the  particular  points  of  the  lessons  and  mark  them.  A  list 
of  references  might  have  been  added  to  each  lesson,  but  it  has  been  found 
more  valuable  for  the  student  to  find  the  points  in  question  for  himself.  This 
is  particularly  true  in  constructions  thtit  are  less  frequently  used  since  he  may 
liave  to  look  over  many  measures  before  finding  them,  thereby  gaining  much  in 
sight  analysis. 


Harmonic  Analysis. 


Lesson  I. 

Tri^vds  and  Chords  op  the  Seventh. 
Triads. 
Major  keys  are  indicated  by  capital  letters.     Minor  keys  by  small  letters 
Fig.  I. 

In  major  keys  the  triads  on  the  different  degrees  are  marked  as  follows  : 

I,  II,  III,  IV,  V,  VI,  vii°. 
In  minor  keys  :  i,  ii.  III',  iv,  V,  VI,  VII^ 

The  signs  of  inversion  are  : 

First  inversion  (3rd  in  the  lowest  part)  6. 
Second  inversion  (5th  in  the  lowest  part)  ®. 
The  sign  of  the  inversion  is  placed  to  the  right  of  that  of  the  degree  as 
follows  :    ii|,  IJ,  etc. 

Change  of  position  of  the  upper  voices  while  the  lowest  voice  remains  the 
same,  does  not  affect  the  harmony  and  need  not  be  marked.  Fig   la. 


^m 


-^^^4- 


m 


b£-iS 


Hi 


=:ifc 


»•< 


t     f 


1/      1 


[m 


ij- 


^^E^ 


.;.j  /J7 


J. 


saztfc 


^^ 


f^ 


Bb     V«     I 


^1 1 

V        I  I,      IV  le   Vii«  le 

EXERCISES. 


CoKELLi.     Gavotte. 


Allegro.  Aisai. 


2.  { 


feP^PI^^I^iiPS^ 


Brahms.     Eequiem. 


Chords  of  the  Seventh. 
Adding  a  third  above  the  5th  of  a  triad  (7th  above  the  root)  forms  a  chord 
of  the  seventh. 

Signs  for  marking  these  chords  and  their  inversions  are  as  follows  : 
Root  position  (root  in  the  lowest  part)  7. 

First  inversion  (3rd  in  the  lowest  part)  *  or  5  . 

4.  * 

Second  inversion  (5th  in  the  lowest  part)  3  or  4. 

J  6 

Third  inversion  (7th  in  the  lowest  part)  2,  I  or  4. 

I 


^^t:^=^- 


^^ 


A \- 


^tzit 


■^ — 0- 


^^P- 


^ 


±=t 


-M 


'-f==^- 


Ab  If 


IV|  iij    V|    nil  VI, 


-^. 


;^i 


tfe: 


TT 


IS 


i 


IV    y\\%    11I7    vi^ 


ivt 


It  often  occurs,  with  harmony  nwnaitiinj,'  the  same,  tluit  the  lowest  part 
"moves  to  different  chord  members,  a  broken  chord,  without  affecting  the  ear  as 
a  real  change  of  the  position  of  the  chord.  This  is  particularly  true  in  quick 
tempo.     'I'he  first  note  usually  marks  the  position  of  the  chord. 

In  doubtful  eases  mark  each  change  of  the  lowest  part 

In  Fig.  6a  no  change  of  inversion  is  felt,  while  6^^  must  be  recognized  as  a 
■change  of  inversion. 


Karganopp. 


WlHTOL. 


mi^M 


EXERCISES. 


Mozart.     Sonata. 


s^feiiE^E^^^i^B 


7. 


Bach.     Choral. 


8.  ( 


mM 


i  Jlj  ^Sj^  i  ^  4-  J^-U-Jj 


^^^^m^ 


1 — t 

Chopin.     Op.  25,  No.  4. 


9. 


it-'-^—0^-i-j ^1   -i-t  I — I— t— f# I— •i— •J 1 — s  '•-  •-•—»- 


Andantt     Sos/enuio. 


Kiel.     Mass. 


:&i^ 


Siz 


±Sz:: 


=1--" 


^: 


^Siip 


l=q: 


^—:=iz 


-^- 


m 


Broken  Chords. 
Chords,  instead  of  sounding  all  parts  simultaneously,  may  be  broken  into 
different  forms  of  arpeggios,  or  the  many  different  forms  of  accompaniments. 
Fig.  11.  These,  in  all  cases,  are  analyzed  as  though  all  the  tones  were  sounded 
simultaneously.  The  lowest  tone,  whether  continuing  throughout  the  chord  or 
not,  marks  the  position  of  the  chord.  This  principle  is  adhered  to  throughout,^ 
in  analysis. 

Beethoven.     Op.  2,  No.  3. 


In  broken  chord  effects  it  is  often  well  to  consider  more  than  one  group  of 
notes  as  belonging  to  the  same  chord  formation,  rather  than  to  call  each  group 
a  different  chord.  While  the  latter  may  not  be  incorrect,  the  ear,  in  many 
instances,  accepts  more  than  one  group  as  representing  one  harmony.  This  io 
particularly  true  of  notes  of  short  value.  When  doubtful  mark  each  group 
Fig.  12 

Bach.     Prelude. 


Coleridge-Taylor. 


No.  5. 


12. 


Chords  of  the  seventh  when  changing  position  often  appear  with  different 
members  omitted,  at  times  forming  a  triad  on  another  degree  as  in  Fig,  13.  No 
marking  is  necessary  for  this. 

Mendelssohx.     Song. 

4 


gzffi 


II 


13. 


I 
I 


^^ 


^ 


Eb    JV^    \\%  - 
EXERCISES. 


Beethoven.     Op.  109. 


Cramer.     Study. 


15. 


^1\^X 


=:fcL=f 


-=^-V- 


,^_^ ^#- 


^=q=1: 


m 


^ 


c=t=pi 


-^ — t^— t 


^==1: 


3==^= 


i 


16. 


■#•  Passing  tone. 

Beethoven.     Op.  53 


^^z^^ 


>- 


^^.^ 


Schumann.     Op.  68,  No.  14. 


17. 


:^ 


:«az=z;=^tit 


:*==r-f: 


:^ 


:?£& 


i^EE^^^ 


AIendelssoun. 


SE^ESE^ 


^£_±i::z=^^ 


T=^- 


1=?: 


-^=^-^'^^.f^ 


18. 


Lesson  II. 

The  Dominant  Ninth,  Suspension,  Retardation,  and  Passing  Tone. 

The  Dominant  Ninth. 

Adding  a  third  above  the  7th  of  a  chord  of  the  seventh  (9th  above  the  root) 
forms  a  chord  of  the  ninth.  The  only  chord  of  the  ninth  that  is  to  be  analyzed 
as  such  is  the  Dominant  ninth.  The  ninths  of  other  chords  will  be  treated  as 
non-harmonic  tones  in  later  lessons      Fig  19. 

When  the  dominant  ninth  chord  has  its  third  omitted,  the  ninth  resolving 
upward  to  the  third,  the  ninth  is  to  be  analyzed  as  an  appoggiatura  (see  Lesson 
III).     The  present  lesson  contains  none  of  the  above. 

'I  he  Dominant  ninth  often  appears  with  the  5th  omitted.  Signs  for  marking 
this  chord  are  as  follows  : 

Root  position  (root  in  the  hnss)  9. 

7 
First  in  vet  sion  (3rd  in  the  buss)    *. 

6 

Second  inversion  iSth  in  the  bass)  5  . 

4 
Third  inversion  {7th  in  the  bass")   ^. 

7 

Fourth  inversion  (9tli  in  the  bass)    6  . 


The  fourth  inversion  is  seldom  used. 


Schumann.     Op.  15,  No.  7. 

I 


KORESTCHENKO.       Op.    1,    No.    1. 


19. 


^g=^g^^^"^^^a 


m^ 


IS 


US 


2|fS: 


II? — Vs 

I 

Gb 

.     I             V,           I 

j 

-J 

EXEECISES. 

Baegiel.     Xocturne. 

# 

* 

1 

Tempo  di  Menuitto. 


20. 


S^ 


id-_ird=ri=iii^ 


•^  »^  ^  -r 


T     -p-  ^.  I     I 


5=e=J 


fei 


"•I    "?"      T  -Sr 


aiii: 


=^E=!! 


?=^:^ 


i 


•^  Appoggiatura. 
»  Embellishments. 


21. 


N     L 


:r^i=?- 


CZERNY.      Op.   335. 


:^-«-*-^ 


i 


:p=:g: 


-v^ 


^ 


1 1 


Beethoven.     Op.  2,  No.  1. 


#  Embellishment. 


i-^ZTT* 


W-^T^^ 


t=tt=f=^?^ 


±=ll 


:i:ii= 


i 


22. 


^- 


:t=t=t 


!-•--•-    -•--•-  -0-- 


azzt 


ii? 


^^^if-f=?^q^ 


1— t— t 


Brahms.     Kequioni. 


23. 


tes 


=^^ 


5=ffcj: 


4-J-^-^-4 


t=flS-*^: 


Sz3= 


pi 


feSfgUgg^ 


#  Passing  tone. 


|3 


1^=1 


The  Suspension. 

A  tone  foreign  to  the  chord  with  which  it  appears,  that  has  been  prolonged 
or  continued  from  the  ineceding  chord,  is  a  suspension  when  descending  one 
degree  to  a  chord  tone  and  a  retardation  when  ascending  one  degree  to  a  chord 
tone.     Fig  24. 

If  suspensions  produce  chords  of  the  seventh  they  should  be  analyzed  as 
such,  unless  they  are  incomplete,  when  they  should  be  marked  as  triads  with 
suspensions.  Exceptions  to  this  are  found  in  the  dominant  seventh  and  in  the 
succession  of  chords  of  the  seventh  in  root  position  resolving  to  chords  a  fourth 
higher,  in  which  case  the  fifth  is  omitted  in  alternate  chords. 

When  the  suspension  or  any  of  the  non-harmonic  devices  used  in  later 
lessons  appear  in  octaves  it  is  necessary  to  mark  only  one  of  the  tones. 

Suspensions  and  retardations  may  occur  simultaneously  in  several  voices. 

Signs:  Suspensions,  s;   Retardation,  r. 

Beethoven.     Op.  10. 

1  1         ^  K 


24. 


li=C 


:=]: 


ii^HB 


^±: 


1 


D.      He  V^ 

#  Appoggiatura. 


Allegro. 


I      V, 


EXERCISES.  Beethoven.     Op.  2,  No.  3. 

1^-^  I  I 


-.n 


>-==f 


4=F5: 


r — r 


ei 


--if:    fi    .^.     I  _^|         I 


-I — h— h 


i^ia 


Bach.     Choral. 


J^^ 


A-X 


-^-1 — "^1 b-l ^- 


^=={=1: 


^^5  -  •^ 


26. 


.1    I    r^  I 


4 •- 


•-# 


^•- 


h  ^  I 


:^i 


i 


Beethoven.     Op.  10,  No.  2-. 


27. 


Allegro.       ^^ 


ISEl^g^^ 


;|# 


It  I. 

[7S]     ["Bl 


:t=j:^t: 


is=i 


28. 


3^gil 


MozAUT.     Sonata. 


:S: 


-^-^ 


I^^Sl 


\m^4 


^--^- 


saf 


P|3i^iESE?^!i^ 


^-r# 


The  Passing  Tone. 

The  Passing  tone  is  a,  non-Larinonic  tone  that  is  approached  and  left  step. 
■wise  in  one  direction.  It  may  be  accented  or  unaccented,  diatonic  or  chromatic. 
It  is  accented  when  on  the  accented  beat  or  part  of  a  beat,  and  unaccented  when 
elsewhere.  When  it  is  the  first  note  in  triple  rhythm  or  groups  of  three,  it  is 
accented,  when  the  second  or  third,  unaccented.  Notes  of  shorter  values  than 
eighths  are  analyzed  in  groups  of  two  beginning  with  the  beat,  the  first  being 
accented  the  second  unaccented.     Fig.  29. 

Passing  tones  may  succeed  one  another.  When  the  passing  seventh  or 
ninth  of  a  chord  is  of  short  Value,  or  is  one  of  a  series  of  passing  tones,  the 
impression  is  that  of  a  passing  tone  and  not  that  of  a  seventh  or  ninth,  and 
should  be  so  marked. 

Signs:  0  Accented  Passing  tones.     +  Unaccented  Passing  tones. 

Beethoven.     Op.  2,  No.  2. 


EXERCISES. 


Chopin.     Op.  10,  No.  2. 


Allegro. 


^-^  p?3    p55.^J555|^Jc«Ls_^^  ^ 


>fe:^- 


H^ 


i±=Mz 


:ii=^= 


i 


Rubinstein.     Op.  26,  No.  1. 


Coleridge-Taylor.     Op.  59,  No.  4. 


32. 


I  I 


Diatonic  Passing  Chords. 
A  succession  of  Chords  progressing  degreewise  over  a  stationary  lowest  part 
as  in  Fig.  33,  is  Diatonic  passing  chords.  Mark  the  first  and  last  chords  only, 
indicating  the  intervening  chords  as  passing  chords.  This  principle  applies  to 
notes  of  short  values  only,  since  the  same  thing  in  slow  tempo  would  give  a 
definite  chord  impression  for  each  chord. 


33.  { 


Beethoven.     Variation. 


^~%^ 


1— r- 


^H 


Passing  chords. 


V  - 


^ 

:^-- 


zX 

s^- 


34. 


EXERCISE 


HELLE.i.     Op.  46,  No.  24. 


M^i^mmm^mma 


^mmwmmem^ 


Lesson  III. 

The  Embellishment  and  the  Appogglvtura. 

The   Embellishment. 
The  Embellishment  is  a  tone  introduced  by  stepwise  progression  between 
principle  tone  and  its  repetition.     Fig.  35.     Sign  e. 

Mozart.     Sonata. 

-  E         +  +    0 ^^J)        I I 


35. 


MozAKT.     Sonata. 


37. 


^  -'-    -0- 


*-r  • »-0-s »^ 


±=^m 


5S: 


'im 


-^ — ^- 


i 


-^ — ^=1 — s- 


m-:=EB~: 


38. 


ffii^s 


4=«= 


^»  *• 


Kjerulf.     Cradle  Song. 


^^^m^m 


-0-  -0-  -0-  -0-  ^g-  V 


t-F 


fe^l=?^^=fel^i 


^^r-Mj^- 


The  Appoggiatura. 

The  Appoggiatura  is  an  unprepared  Suspension  or  (Retardation)  approached 
by  a  skip  of  an  augmented  second  or  more.     Fig.  39.     Sign  :  Ap. 

Chopin.     Op.  47. 

8va. 


39. 


c      I 


Ait. 


Uj—^--^ 


£: 


4r_ 


' — I — r—— I — I — r- 


.^=0* 


40. 


EXERCISES. 


Mozart.     Requiem. 


Lar  ghetto.        .J^'jt 


>=5J^- — 


:^^=^ 


r — 't 


^ES^S 


-1 — =n- 


Fl==i- 


^=-^1 


ir=s^="^ 


-=1-^ — =1— ^ ■^-  -m ^ 


-^ — *- 


-^^ 


Lnngsam,  sehr  gart. 

^ 


Schumann.     Op.  82,  No. 


Knut-Baeck.     Op.  7,  Xo.  7. 


Moieriio.  \ 


fe^^^^ 


^^^af^ 


Orxamexted  Scale  Passages. 
Ascending  or  descending  scale  passages  (diatonic  or  chromatic)  are  often 
ornamented  by  Embellishments  or  Appoggiaturas.    In  such  cases  each  ornamen- 
tation is  to  be  marked  as  an  embellishment  or  appoggiatura  whether  it  is  a 
chord  tone  or  not.     Fig.  4.3  and  44. 

While  the  approach  to  the  appoggiatura  in  44  is  but  a  whole  step  the  effect 
is  nevertheless  that  of  an  appoggiatura. 

16 


J.  Hoffmann.     Op. 


£Efc-t^^^Sl 


Passing  thirds. 


fe 


^fe%**iMr^-gfe 


fefeij 


Ap.       Ap.       Ap.       Ap.       Ap.        Ap.     Ap.      Ap.        Ap.     Ap, 


EXERCISES. 
iVoWo  AUeqro  e  vetocr.    _  #  _ 


CZERNY.      Op.    299. 


45. 


^^^^E^gj 


JL ^^»^», J:!?:*  ?:#  •  #  ,  »  ,    , 


P^^^^i^tE^'L 


:.W:^ 


17 


A  llegro. 


ChopIxV.     Op.  32,  No.  1. 


46. 


Broken  Thirds,  Sixths  and  Octaves. 
Broken  thirds,  sixths  and  octaves  are  analyzed  as  though  both  tones  were 
sounded  at  the  same  time.     Fig.  47. 

.*.  +  CZERNY.      Op.    299. 

^     + T-  -0-  -•_^_-»-  _, + + 


47. 


T 


g!=;^=5=3==^ 


C       I 


IV  I 

EXERCISE. 


48. 


CZERNY.      Op.    299. 

-0- 


I 


i 


s 


1^ -0- 


18 


SCHUBEKT.      Op.    61.    No.   4. 


49. 


i^il^i^^^ 


%  ^  f 


^^r   :?     5: 


^i 


Lesson  IV. 

Attendant  Chords,  and  Broken  Chords  and  Suspension    (eon.). 
Attendant  Chords. 

A  combination  of  three  or  more  non-harmonic  tones  form  an  Attendant 
chord.     Fig  50. 

These  chords  usually  appear  in  connection  with  some  fundamental  harmony, 
or  are  introduced  between  a  chord  and  its  repetition,  and  most  often  take  the 
form  of  a  chord  of  the  diminished  seventh,  but  are  occasionally  found  in  other 
forms,  the  tones  at  times,  having  no  harmonic  relation  whatever  to  one  another. 

When  these  chords  appear  in  broken  form  mark  as  usual,  and  in  addition 
indicate  by  letters  the  chord  members.     Sign  :  At.  chd. 


Chopin.     Op.  32,  No.  1. 


50.  < 


Jexsex.     Op.  45. 


^       b. 


Ap. 


^=^1=^^^ 


I  1,  I 


g^^^^^^ 


-^^-^    1^ 


^ 


h  I 


-ii—*- 


1 

It  V, 

Beetho\'ex.     Op.   22. 


IV 


Eb       L 


(HOPix.     Op.  34,  No.  1. 
At.  chd.  At.  chd. 


I   \Al 1± 1 — 1 » 1__^ L^ 0 1      s_,- * JJ 


Ab     V 


EXEECISES. 


Brahms.     Xanie.     Op.   82. 


fmmm 

51. 


f:    iit      It      :^J       I     If:    _^_i 


i      -  I 


^E^fei^^feEF^^^=Et 


l^i^- 


^ 


--:i- 
-z;^* 


-5*-- 


iiiii 


52. 


Atidante. 

1    ^  1 


^=*: 


=C&r 


-^-tr 


I    ^  I 

:*=z*z:#x: 


Spoiir.     Last  Judgment. 


-^^mm: 


I   ^ 


■0-. — « — •- 


I     ^    J.     ^ 
^  -•-    -*-     -0-_ 


i 


Schumann.     Op.  23,  No.  3. 


53. 


iii^=J|Eg^=iE^=|#i 


i  V^    I 


^ 


Parker.     Hora  Novissima. 


g 


^^ 


BSig: 


:SS- 


54,  < 


3^ 


S=^ 


^ 


lif: 


:-:ttii 


:p=f=t 


I 


I     i 


W. 


E=S^ 


ir*^ 

'=Fr=rFr=r 

•[^•t7ih      S 

-Et-a 

:-hTf'd=t=f:L= 

_^_^P 1 

\ \ 1 

":2^^ 

■J 

— -  1  ^  -- 

br?*^ — 1 — ^- 

tt^ 

^          V 

» 

_tL__Ji 

Allegretto. 


gi^^g^^g^iil 


bSri 


Chopix.     Op.  4^ 

I 


:::i: 


fi=:=3 


^ 


^__  j^g-^^^^^^ 


1 


g 


MlP^^ 


-fti  '    ' .-tJ=t-;Jr-*' 


(is^^pSi^^^^E^^^^^^P^EiB 


Broken  Chords   (eon.)- 

It  is  often  the  case  that  non-harmonic  tones  in  broken  chord  effects,  which 
are  approached  and  left  by  skip,  should  be  analyzed  as  Susp's.,  App's.,  Passing 
or  Embellishing  tones.  This  may  easily  be  determined  by  playing  all  the  notes 
of  the  broken  chord  simultaneously.     Fig.  56. 

22 


Cramei;.     ytudy. 


[^^^i^i'^l;^^^^ 


56. 


^'s^^ 


-I 1 \ ^ 


--■^=^^' 


* g- 


--^^^^i 


Bb     IV        V, 


I«         IV 


Reduction  of  56a.' 


EXERCISES. 


57. 


A.  LiADOw.     Op.  17. 


CZKRNY.      Op    5499. 


58.  i 


#     E.  orna. 

The  Suspension    (con.). 
The  suspension  may  not  only  be  prepared  by  a  chord  tone  (see  Lesson  III) 
but  may  also  be  prepared  by  any  non-harmonic  tone.     Fig.  59. 

Henisz.     Op.  8,  No.  1. 
a.  ,       ,^^     o     E        s      .,     E 


i 


-0- 

A  Vg 


^He 


Schumann.     Op.  23,  No.  4. 


i_.^ 


pjei^i^iliiE^i^JlI 


Ab    VI 


Chopin.     Op.  64,  No.  L'. 


nt 


fe^^^= 


-^-r^ 


:l b 


J^» 


:ci=it=: 


Eilgi^ie^; 


D      J 


60. 


fc^ 


KXf:RCISES. 

J — i — ^_^-^J: 


g 


Jensen.     Op.  4.3. 


^  0^^M^^ 


P  ^  P  •    -<&'- 


ll=S£^l=E^=l=^gg=E=i^^ 


Allegretto 


61. 


CE.SAR    Cui.     Intermezzo. 


^^=3?=-J^ 


^•—^ 


:?t=^=?=gi: 


3t=t 


:t::tjt 


1^=^ 


±=: 


Pl^ 


:i^'--^ 


urnt 


laizat 


^^ 


(i 


-4 ♦ 


■k 


H 


A  Series  op  Once  Repeated  Notes  ascending  or  descending,  with  harmony 
remaining  the  same,  is  analyzed  as  S's.  (or  R's.)  and  their  resolutions,  as  in 
Fig.  62.  This,  however,  is  done  only  when  the  first  of  the  repeated  notes  is 
unaccented.  It  is  quite  possible  to  analyze  such  passages  as  anticipations 
(later  lessons)  and  their  resolutions.  The  author,  however,  prefers  to  analyze 
them  as  suspensions  and  their  resolutions. 


Beetho\'En. 


63. 


Lesson  V. 

The  Anticipation  and  the  Pedal  Point. 

The  Anticipation. 

An  Anticipation  is  a  tone  introduced  immediately  before  the  entry  of  the 

chord  to  which  it  belongs.     It  may  be  tied  into  the  next  chord  or  be  repeated. 

Fig.  64.     Sign  a. 

Beethoven.     Op.  2,  No.  2. 


64. 


Kamea  c  .    Gavotte. 


E 


« 


«: 


V 


When  the  Anticipation  instead  of  remaining  stationary  skips  to  some  other 
tone  of  the  chord  to  which  it  belongs  it  is  a  Free  Anticipation.  Sign  :  fa. 
Fig.  65. 

Any  or  all  tones  of  a  chord  may  be  anticipated. 

McFarren.     Bourree. 

F  A. 


C      1V| 


66. 


w^^m^w^ 


EXERCISES. 

A.    KORESTCHENKO.      Op.    1.    Xo.    1. 

U I 

^ 


L^l 


tt 


Mendelssohn.     Op.  14. 


67. 


ij:  ^:  :$  m  It 
-•-  -•-  -•-  -#-  -•- 


J-_T 


««: 


^S^^Si^^^J 


mE: 


-=r 


:3:=i 


3t=f: 


Adolphe   Schloesser.     Op.    19. 
^  E  oma. 

^5 ^^-r-n- 


-«ii \- 


£-'  *  *-^a£ 


68. 


i^ 


•     ^ 


•     P 


Allegretto 


Grieg.     Op.   40,   No.   3. 


Pi 


tr- 


^S=5t 


(^ 


I        ^ 
1 


Non-harmonic  tones  resolving  sooner   than   expected  should   be  analyzed 
as  anticipations.     Fig.  70 

Beethoven.     Op.  20. 


70. 


i^ 


* 


jEt? 


E?L^ 


f-L  - 


n 


I  ^  bi 


^-r^i-^J^-J-^ 


^E 


1 


fzfc^: 


Eb 


:»it 


^ 


4=f: 


V^ 


( 


Chopin.     Op.  59,  No.  1. 
Ap.       A 


±t: 


i=#± 


eI 


AP.  ^. 


Backer-Groendahl.    Op.  15,  No.  1. 

— ^.      0    ^  tr     0  E 


rnt=«z=t=t 


t=t 


t:=rti 


r-^rr — ri^-^ 


•if"— •- 


m=^^m 


■^ 
-*-i= 


^ 


^=^ 


^f=t=s1^^ 


ti=P^ 


t^ 


#it=:t 


cl      V, 


VI 


VI: 


V 


29 


Beethoven.     Op.  2,  No.  2. 


d.    S            A 

— ly- 

A 

^'B 

Wr  ¥  "^ • ^ ^ 

^ 

-p- 

^= 

'^ — ^ 

* 

-y m — 

=S 

1                                      "*""""' 

/I             J    ;    , 

-•- 

-•- 



\|S|f^    Et.      ^      ^ 

-^- 

:ij= 

=:= 

=^J=S= 

z:: 

1       1 

1 

1 

__  1 

1      1 

1 

Vr 


EXEECISES. 


Chopin.     Op.  59,  No.  1. 


\^- 


71.  \ 


:^gE^ 


-5#- 


=^- 


^E^ 


"•"?~S-t 


^^-Rf— g- 


4te: 


i 


=»p= 


I      I 


:q;^=^ 


-^= 


<5:i 


I 


>-    r    y    »> 


iid:!-^. 


3^^ 


^ 


i^=^=r: 


1=X- 


r 


Eebikoff.     Op.  8,  No.  16. 


72. 


30 


-li"^- 



^" 

^~"j- 

,— 

F5^ 

=i— 3= 



"-"J- 

4 

1  ^~ — 

b    m 

— (i? — 

1 
i 

5* 

P 
1 

X- 

^ — 

-•- 

=±1 

\EE2^- 

t= 

:=t== 

f> 

"-=: 

-33 

r 


Pedal  Point.     (Organ  Point.) 
A  Pedal  Point  is  a  tone  contiDuing  through  a  succession  of  harmonies  to 
which  it  may  or  may  not  belong.     This  tone  may  be  sustained  (a),  repeated  (6), 
intermittent  (c),  or  accompanied  by  some  ornamentation  {d).     Fig.  73. 

Elgar.     Caractacus. 


Ap. 
o.    J-. 


jL  Ap. 


Aleneff.     Op.  7,  No.  1. 

I 


^    f    -P-      J 


i?==t 


^i^^te^^^^i^^lii 


A       IV 


31 


Two  tones  may  be  sustained  in  the  above  manner  forming  the  double  Pedal 
Point. 

The  Pedal  Point  may  be  on  any  degree  and  in  any  voice. 

When  in  the  lowest  part  it  has  harmonic  relation  only  with  the  chords  with 
which  it  begins  and  ends.  In  all  intervening  chords  the  part  above  it  indicates 
the  position  of  the  chord. 

In  marking  the  Pedal  Point  indicate  also  the  degree,  i.  e.  Dominant  Pedal 
Point  is  marked  D.  P.  P.,  the  Tonic,  T.  P.  P.,  etc. 


EXERCISES. 


Fr.   Liszt.     Christus. 


Allegro  moderalo. 


\^)t«-:=l===|— i 


^t^m 


#?  •?-  •? 


•^   -0e    ••- 


=4^-t- 


4l1,|^;^._i 


75. 


^ 


=4: 


z^zz^zzr"^-^^ 


S 


X^-1:l^£i4:l 


r±=?= 


Wagner.     Tristan. 


-i?'- 


fekri 


^3: 


=1^=^ 


:|i^- 


-^-4 


E^=i==^ 


te^T^^E^BE^E^EgEK^ 


^i=a 


Si^=EEl 


Chopin.     Op. 


77. 


^^=^ 


gar,B 


=^p=^ 


?=P=: 


?i?i=SE*EE^ 


=i=^*=t 


=1 


Lesson  VI. 


The  Ohxa.mental  Resoli'tion  and  the  Free  Tone. 

The  Ounamental  Kesolution. 

Auy  111)11  luiiiiioiiic  tone  may  have  one  or  more  tones  interpolated  between  it 
and  its  resolution.  This  is  called  an  Ornamental  resolution.  Fig.  72  Double 
and  Triple  Appoggiaturas  (Fig.  78  e.  f.)  are  to  be  analyzed  as  Ornamentally 
resolved  non-harmonic  tones.  Signs  :  S  orna.,  E.  orna  ,  Ap.  orna.  A.  orna.' 
o  orna.,   +  orna. 

FiBic'H.     Op.  44,  Xo.  2-7. 
+   orna. 


78. 


:«=zt=5iiit::i=zE 


:*zzt: 


Bb 


^g 


Elgak.     Caraetacus. 


Chovan.      Op.  6,  No.  1. 


c.  I  J      I  I      I      I      I      I      I 


-tt?- 


§?£e== 


eb    Vf 


Vsii^ 


F.  A.  orna.        Ap. 


.35 


iia 


Ap. 


:i:0-p:- 


^3i 


;feEE^ 


(h)  n 

FriAXCK.     Beatitudes. 
D'b'l.  ap. 


i->--f^— ^ 


i 


S.  orna.  A 


&.      I         Vlg        ii»       vii?o        VI, 


TiNEL.     Francis. 


Trip. 


Trip.  ap. 


"^     Ap.oma.  ^p^^^  E 


(psSziq 


HE;: 


F.     VII" 


EXERCISES. 


Allegro  non  troppo. 


79. 


;^sEE^c7E£?Ea:Er=^^ 


:E 


A.  Li.\DOAV.     Op.   3,   Xo.   4 


is 


sa- 


JE^P=^=^^=^i^— - 


==^e 


:4=:t 


:r^:=^ 


n 


:?=f= 


jL     •: 


1 


80.  I 


Allegro. 


Mozart.     Sonata. 


t^ 


r=p=f==?- 


^^^feil^E^^ 


il 


tt-r_ 


81, 


KORESTCHENKO.      Op.     1,    No.     1. 


Andantino. 

M 


^:^g--t=Qp=f: 


ii 


:e=t=: 


.iL  -*i   J     JLj^^J. 


:Ct^ 


-^m 


(M 


Jit. 


i: 


p^fm 


-St.- 


37 


82. 


L'OLEPJDGE- Taylor.     Op.  59,  No. 


Allegro. 


^^m^m^^^ 


'M~_:^ 


m 


in^zzf: 


r 


^^^  Not  a  free  tone. 

A  ndante. 


1        I     a — ^"T" 

Chopin.     Op.  10,  No.  6. 


lii: 


:,  •-s-«-# j-^  -  *  »^ — Lg^ g=*= — i^ — s 

■^*-^-^    ^^^-^       I  I    I  I    i   I    Mil   \  T 


I 


Pr-rt 


±=li: 


-i'- 


3     i 


i 


i 


I 

The  presence  of  rests  immediately  before  a  Suspension,  Embellishment  or 
Passing  tone  does  not  atiect  their  nature,  and  they  should  be  analyzed  as  though 
no  rests  were  present.  A  rest  of  considerable  length  may.  however,  give  the 
effect  of  an  appoggiatura  to  these  notes.  This  must  be  decided  by  the  ear  since 
no  exact  rule  can  be  given  as  to  the  length  of  the  rest.     Fig.  84. 


^  t  t:  t 


'U*. 


Beetho\-ex.     Op.  7. 


EXERCISES. 


Tempo  di  Mazurka. 


Rebikoff.     Op.  8,  No. 


85.  ( 


-••— ••^ 


■-    r  7^ ^ 1 r 


-A— HV 


^^JE^^gH^^^i, 


^^fl 


l^S 


^=t 


^^ 


Tempo  di  Minuetto. 


KORESTCHENKO.      Op.  22,   No.   5. 


i^^gH^^ 


p^ 

!^i: 


I. — .  r^    I. — .1 — .r 

A.       ^  1:  >_       jL       >_ 


-• «?- 


-#      ^       #        fi^ 


F^-^^ 


^^^= 


^E^ 


-^ 5? 


1 


liJL      ^      A-±  jL 


A       # 


i=±± 


:^^E^ 


-=i->?" 


Beethoven.     Op.  22. 


Allegretto. 


^Eg^ 


^i=^^^l3^m 


39 


i^^#=i!=i=#- 


35=ii 


The  Free   Tone. 
Non-harmonic  tones  that  are  left  by  a  skip  and  do  not  resolve  ornamentally 
are  Free  Tones.     Fig.  88.     The  use  of  Free  Tones  is  comparatively  rare. 

Do  not  analyze  a  tone  as  a  Free  Tone  except  as  a  last  resource.     Sign  F.  T. 

Chopix.     Op.  11. 


88. 


C|L«.  F.T. 

'■4  — 1/ ^ ki^ ^ \ W ^ 1 ■ ^- 


m 


Ap. 


He! 


c    v: 


Backer-Groendahl.    Op.  15,  No.  1. 


-0-ti      -m- 


'        "*      ~^    ^^^    ^^i 


Chopin.     Op.  10,  No. 


Allegro. 

so. ) 

D:r25* 1 

fe2-=f^ *                 3 

^ 


^^eS=3^: 


-j-;-j.ct^- 


Lesson  VII. 

Enilvrmonics. 

Tones  which  have  different  names  but  have  the  same  pitch  are  enharmonic- 
ally  related  and  are  called  enharmonics. 

Enharmonics  are  ii=ed  in  notating  chords,  which,  if  notated  logically  as  the 
key  relationship  demanded,  would  involve  the  use  of  double  sharps  or  double 
flats,  adding  unnecessary  difficulties  in  reading.  To  illustrate  :  —  a  major  triad 
on  the  minor  second  degree  is  much  used.  The  notation  of  this  chord  in  the 
key  of  Gb  is  Abb-  Cb-  Ebb^  For  simplicity  the  notation  G,  B,  D,  its  enhar- 
monic equivalent,  is  often  used  instead. 

Entire  passages  are  often  changed  enharmonically  for  the  sake  of  simplicity 
in  reading.     A  common  modulation  is  to  a  key  a  major  third  lower.    Modulating 

41 


thus  from  the  key  of  G  flat,  it  goes  to  E  double  flat,  involving  ten  flats,  much 
harder  to  read  than  the  key  of  D,  its  enharmonic  equivalent,  which,  therefore,  is 
ordinarily  used. 

An  exasperating  use  of  enharmonics  is  their  substitution,  either  willfully  or 
through  carelessness,  in  spelling  chords,  at  times  so  distorting  them  as  to  make 
them  almost  unrecognizable. 

The  exercises  in  the  present  lesson  will  deal  only  with  enharmonic  change 
for  the  sake  of  simplicity  in  reading. 

Misnotations  will  be  taken  up  in  later  lessons. 

Analyze  the  passages  as  written,  only  indicating  the  actual  key.  In  cases 
of  single  chords  give  their  correct  spelling,  and  analyze  in  the  corrected  form. 
This  will  be  sufflcient  recognition  that  the  chords  are  enharmonics. 

Schumann.     Op.  19. 


91. 


i^ 


bi,      V-  1  V,         I  le     Ab  1|         V,        I 


E      I 


Coleridge-Taylor.     Op.  59,  No.  8. 

-O- 


^^^^m. 


lie 


E^ 


itz: 


^ 


-ttg?-^- 


1— i 


i 


:^==t 


1-zkz^ 


^.  E,  G#.  B,=Fb.  Ab.  Cb.  3 


Ab     I 


visl? 


42 


KXKKilSKS. 


Poco  utlagio. 


a^ 


r_£z;*=fc 


Cesek.     Op,  24,  No.  3. 


^  ^-,.  &^      g-  §-£ 


:^-=i^-=^bt=MH 


I       I 


I       I 


^^:3: 


-iJi^—H 


^  V  A 


-rr-A- 


:t= 


niiy 


-a.«- 


it. 


p. 


93. 


Wagner.     Lohengrin. 


:_JI.S 


J^ 


I 


W^—» 


^-# 


I 


EE 


-^^=i=±l^^^^t^^E^^^i^^S=^ 


zfe: 


AUtgro.    -f- 


LlADOW.     Op.    27,    No.    : 


in 


t-        ^^^- 


Beetho\'en'.     Op.  13. 


Adagio. 


95. 


^jme=ie:-=i^ 


• — ^ 


=1: 


;^^^ 

•^^    •-*-#-^ 


&^^=4=: 


^S= 


Altered  Chords. 

An  altered  chord  is  one  that  contains  one  or  more  chromatically  altered 
tones,  but  does  not  modulate. 

The  Minor  Sub-dominant  and  the  Diminished  Seventh  on  the  Leading  Tone 
IN   Major   Key. 

There  are  two  chords  which,  though  regularly  found  in  minor  keys,  are 
frequently  used  in  major  keys.  They  are  the  minor  triad  on  IV  (minor  sub 
<lominant)  and  the  diminished  seventh  on  vii^.  Fig.  96  a  b.  The  lowering  of 
the  sixth  degree  in  major  keys  which  brings  about  the  alteration  of  these  chords 
is  quite  common  as  will  be  seen  in  further  analysis. 


45 


Gounod.     Galli 


96. 


?^%=a#Ti:i:^=n=qJM3r«:^=^. 


m^ 


G      le 


[%] 


T 


1 


^«= 


i^=M=d?: 


i-:1:S*J 


*^H?^ 


q:^:^:4=q:^ii::^:«=:t=* 


Mendelssohn.     Op.  5. 


^- 


iiii^ 


-•ij*^ 


:«»: 


S^ 


ESte 


ii 


D    VII?  0 


97. 


EXERCISES. 


Perosi.     Lazarus. 


--jf=55^ 


=g*=^ 


=gi- 


i 


68. 


RosiNNi.     Stabat    Mater 


u^'^n^^ 


i^^^ei 


±0. 


^l^i^ga3z-r:-sa^N^FFr=r-'i5^S^j 


P^f 


-•I al al: 


feliS=l 


Chopin.     Op.  32,  No.  1. 


99. 


^g^ 


100.  < 


t — ^- 


'W- 


i 


m^ 


Bi^=t 


"£=J 


.^ 


II 


I 


r 


Gounod.     Gallia. 


101. 


48 


Lesson  VIII. 


Alterations  of  the  Supertonic  Seventh  and  of  Cohrds  of  the 
Seventh  on  Other  Degrees. 

The  Supertonic  Seventh  with  Raised  Third. 

This  chord  is  identical  with  the  dominant  seventli  of  a  key  a  fifth  higher, 
but  a  single  appearance  of  chords  of  this  kind  are  analyzed  as  altered  chords 
since  they  do  not  induce  a  modulation.  The  Dominant  seventh  as  modulating 
chord  is  fully  treated  in  lesson  LXII. 

Mark  these  chords  as  usual,  and  indicate  the  alterations  in  brackets,  as  in 
Fig.  102a. 


102. 


Beethoven.     Op. 


Ap.  orna.    Ap.  orna.    Ap.  oma. 


EXERCISES. 


H.   Parker.     Hora  Norissima. 


103./ 


ttg 


M 


3^ 


-^- 


J-    J 


Wz 


-f—^ 


>aj- 


=1^^= 


>  j- 


I  I 


tP=t 


— 3-#—  n 


7C] 


104. 


The  Supertonic  Seventh  with  Lowered  Fifth.       Fig.  102b. 
EXERCISES. 

Coleridge-Taylor.    Op.  59,  No.  10. 

Lento.  ^^^        ^ 


f^i^^z-       US 

^^^^?* 

1  n  -. 

ij^fctfztt 

b- 

^ 

11^ 

— — 1 — 1 — - 

f^^^^ 


The  Supertonic  Seventh  with  Raised  Third  and  Fifth  in  Minor  Keys. 

EXERCISE. 

Benedict.     Gavotto. 


105. 


^=r=tfcltp=z=:L3 


The  Diminished  Seventh  on  the  Raised  Second  Degree. 

This  chord  is  the  enharmonic  equivalent  of  the  diminished  seventh  on  raised 
fourth,  but  is  used  in  major  keys  only. 

As  in  the  case  of  the  super  tonic  seventh  chord,  a  single  appearance  of  this 
chord  as  well  as  of  other  chords  of  the  diminished  seventh,  does  not  induce  a 
modulation,  and  should  be  analyzed  as  altered  chords. 

It  is  sometimes  difficult  to  tell  whether  chord  formations  of  this  kind  and 
those  following  in  this  lesson  are  really  altered  chords  or  merely  Attendant 
chords  such  as  are  described  in  Lesson  IV.  It  is  in  fact  difficult  to  give  exact 
limits  to  these  chords,  as  tempo,  mode  of  introduction  and  resolution  play  so 
important  a  part.  The  following  directions  will  on  the  whole  serve  in  most 
instances  :  As  was  said  in  Lesson  IV,  an  attendant  chord  usually  appears  in 
connection  with  a  fundamental  harmony,  or  is  interpolated  between  one  and  its 
repetition.  To  be  an  altered  chord  then,  a  chord  should  stand  by  itself  and 
resolve  to  a  chord  other  than  that  which  precedes  it.  When  doubtful  mark  as 
altered  chords.     Fig   106. 

Ap.  Thoma.     Op.  .58. 


106. 


107. 


The  Diminished  Seventh  on  the  Kaised  Fourth  Degree. 
This  chord,  although  the  enharmonic  equivalent  of  the  preceding  chord  is, 
however    found  in  both  major  and  minor  keys      Some  writers  hold  that  the 
toimer  chord  is  but  a  misspelt  diminished  seventh  chord  on  the  raised  fourth 
degree.     A  discussion  of  this  is  not  necessary  here.     Fig.  108. 

Calkin.     Op.    89. 


108. 


— z.*  s  J 


EM: 


^3^ 


Ap.  ^  '^ 


■r 

Ap. 


^ 


U,l   i 


■I* i= 


C     IV         VII' 


Presto.  I 


i 


Is 


(I) 

EXERCISE 


IV,    V,        I 

(ii) 

Mendelssohn.    Capriccio. 

—I 1 . — m « 0- 


Chorus  of  the  Diminished  Seventh    (cuu.). 

Chords  of  the  diminished  seventh  are  also  found  on  the  raised  first,  fifth, 
and  sixth  degrees  in  major  keys,  and  on  the  raised  third  degree  in  minor.  'J'hese 
usually  resolve  respectively,  to  ii,  vi,  or  some  form  of  V7  and  to  IV. 


EXERCISES. 


Schumann.     Op.    1. 


( 


110. 


-j-xi/a^-a* 1 — ^ u Lj — I 


Animalo. 

-0- 


A^.^±^^^^^ 


I        I 


U^ 


^  5 


r—\r-^ 


-r-f— r 


gE^ZHgj^feif=^i^= 


fe==g 


=^: 


•     •     •       V.4^. 


pl^:^y^^^^F^^^^Ejj 


«^       I 


m 


-0- 


-i^tr. 


53 


^  I 


111. 


;?3t;E 


ChopixX.     Op.  32,  No.  1. 


-t.    4      i:f: 


Ttj j-j- 1 * 


tt=t:=t: 


^^-£^ 


Cf^- 


pii:i=:p=i=i=i:pi:i=q — , — | — ,^=i=q 


r 

J-       .i:t* 


--^— *»— l-^l k=i 1-^!        I        I— F-H— ^b 


*r-— I — •— h — .• — •- 


^-^5: 


±zzz^ 


:i=p- 


Calkin.     Op. 


112. 


-^==^; 


113. 


Chopin.     Op.  23. 

Moderato.  ,  #  k 


t=4: 


5^ 


_^tL^-^ 


i       J 


fc^ifi: 


^p: 


i^^:fci: 


-#*- 


'^- 


fe 


54 


Lesson  IX. 


Chords  of  the  Augmented  Sixth. 

Probably  the  most  frequently  used  of  the  Altered  chords  are  those  of  the 
Augmented  Sixth,  so  called  because  of  the  interval  of  an  augmented  sixth  above 
their  lowest  part. 

As  far  as  the  spelling  of  these  chords  is  concerned  they  are  chords  of  the 
seventh,  but  are  seldom  thought  of  as  such.  They  are  so  often  used  in  the 
inversions,  which  give  them  their  names,  that  these  are  looked  upon  as  their 
conventional  forms,  and  they  are  usually  thought  of  as  built,  not  on  a  root,  but 
on  the  note  that  is  in  the  lowest  part. 

There  are  four  kinds  of  these  chords : 

The  Augmented  Sixth  ( marked  6+ )  comprising  a  major  third  and  an 
augmented  sixth  above  the  lowest  part  (a) ; 

6-I-. 

The  Augmented  six— four — three,  (marked  *+J  comprising  a  major  third, 

augmented  fourth,  and  augmented  sixth  above  the  lowest  part  (d)  ; 

The  Augmented  six-five  (marked  I"*")    comprising  a  major  third,  perfect 

fifth,  and  augmented  sixth  above  the  lowest  part  (c) ;  and 

6+     \ 
The     Doubly    Augmented     Fourth,    (marked    •*++  )   comprising  a  major 

third,  doubly  augmented  fourth,  and  augmented  sixth  above  the  lowest  part  (d). 
Fig.  114. 

Chords  of  the  Augmented  sixth  with  doubly  augmented  fourth  are  con- 
sidered, by  many  writers,  to  be  misnotated  Augmented  Six-five  chords.  What- 
ever one's  opinion  may  be  it  will  help  the  clearness  of  the  solution  to  analyze  the 
4-[_l_   chords  as  such. 


114. 


The  following  exercises  contain  no  misnotations.  These  will  be  taken  up  later. 
Mark  the  chord  regularly,  indicating  also  the  altered  intervals  as  directed ' 
in  previous  lessons.     Put  the  sign  of  the  chord  (6+,  *+,  etc.)  directly  above. 

Beethoven.     Op.  2,  No.  3. 
a. ^ ^ 


i—-^} 


:«ii 


-t=: 


115. 


Jj^rj 


t=t: 


±MZ 


u 


IV, 


(5) 


KoPYLOw.    Etude. 


^ms 


--^ 


r-\r^ 


a 


=i=ittzzi=iitlt:tl:}^ 


itzi: 


:1=^ 


^Mozart.     Sonata. 


m 


^fcS: 


^=i^= 


5 


IV, 
Chopin.     Op.  47. 


:e!=sE5- 


¥g|=? 


^ir^ 


^r^=-x 


r?^^* — •• 


S  1  ^1 


-7^--^: 


Ab 


15  V, 


EXERCISES 


,iggl^^ 


MozAKT.     Eequiem. 


116. 


^gF^FT^ 


\ 


>i:3. 


:»s: 


iEf=f=^^=fEggg 


"u^^ 


-.-tt*- 


:r=«: 


:^1==fi!: 


t==*^^* 


56 


1^^ 


(i 


m 


-^ 

^ 


f=3=f 


H= 


iw— 


r^-^t^  t^ 


«=E 


iS^i 


M- 


^r^ 


il/ofto  Allcoro. 


'^^ 


&T^ 


^  1 


1^^.*— •- 


Beethoven.     Op.    7. 

I 


m 


-^wifi 


117. 


L'     I 


zfciii: 


b&S: 


-Jtf 


-t^— h 


:p»^*- 


Beethoven.     Op.  31,  No.  3. 


Jllegr 


=fl?t*-:Ct* 


118.  { 


ft  T  t:  T  It     ••^  ••  ••    ••  ••    ••^ 


r9-rr- 


pZrE 


wt 


:t     *      :t      S      t 


^-=tS^:^ 1 --^=q=:lEEj 


••     ,#- 


g0     ^ 


i_=i3t:^: 


^ 


>X~ 


m 


l^:^^ 


Hoffmann.     Cantata. 


119./ 


AVegro.  Moderato. 


:?±' 


4=i 


q^= 


'^j=i=*^: 


:^ 


z]=q: 


_4 ^ 


^. 


I 


-i^-- 


■I     I        1^1     u  rr.i  I   I     '^  ^   I 


fl  J 


-| — r 


120.  { 


%r-^ 


'-^-J-fH- 


EE'^stw^: 


Colekidge-Tavlok.     Op.  59,  No.  16. 


^iiz^M 


=t^Si^ 


^- r 


S5E: 


tiif: 


:z:ttpitit=:U=:z: 

"F^rj — 


I    J    ^  If:  -f:^  t 


(Sk 


ii^i^^^i^p 


121.^ 


ifeEE?^""^ 


Elgar.     Light   of   Life. 


lig&iiippiplpsp 


I  ^^1 


1  ^H 


siSii^iiipi 


^lozART.     Sonata. 


Allegro. 


122. 


^1^2= 


:^tittit^-i-- 


-F=^^g=^^^ 


5f- 


i|3i£?=i=i=l 


59 


Jonas.     Op.  58. 


123. 


(pn^ 


* 


Chopix.     Op.    23. 


124. 


^--T^-* 


■:1r 


v^-- 


:ii=tti: 


•— #— ^ 


^H 


i^i^^b==t 


^^^J-; 


:t=M==^==M.-^tt|=^: 


125. 


Moderalo. 


Schumann.     Op.  23,  No.  1. 


-#-     *     •     •  ^      ^     ^ 


-^t:^^ 


t'     u     I 


4       !        !      1^^ 


h     ^ 


15^3^:3^* 


:^^ 


-N1  Tq 


"^  ^^^3  ^3  ? 


^T 


60 


I 


-M: 


r 


i 


W- — ^-=^=^==^ 


t^^ 


«t 


itt^t: 


f 


Lesson  X. 

Chords  of  the  Augmented  Sixth  in  Other  than  Their  Conven- 
tional Form. 

Chords  of  the  Augmented  sixth  are  often  used  in  other  than  their  conven- 
tional forms,  i.  e.  with  some  other  interval  of  the  chord  in  the  lowest  part  than 
that  given  in  the  preceding  exercises.     Fig.  127. 

In  order  to  recognize  them  in  these  forms  it  is  necessary  to  know  their 
structure  from  the  root.  Fig.  126.  In  chords  that  do  not  agree  with  those  in 
preceding  lessons,  it  is  necessary  to  find  the  spelling  from  the  root  and  compare 
with  the  following  table: 

From  the  root  the 

6+    comprises  a  diminished  3rd  and  diminished  5th.     (a.) 

4+     comprises  a  major  3rd,  diminished  5th  and  minor  7th.     (ft. ) 

6+    comprises  a  diminished  3rd,  diminished  5th  and  diminished  7th.     (c.) 
5 

4++  comprises  a  minor  3rd,  doubly  diminished  5th  and  diminished  7th.    (d.) 
3 


126. 


mm^^m 


Bendl.     Gipsy   Melodies. 


127.  < 


t-?if^- 


fs*^ 


mm 


ft- 


w 


d.     II, 


-^^ 


^_j.. 


Iee^^^^I 


"7     Vt    I 


61 


lift 


5 

It 

'  1 

'^'7— 

m 

EXERCISES. 


Fraxck.     Beatitudes. 


128. 


Andante. 

>         -I- 


J-5^ 


<^4- 


I  N        I  I 


1      ^ 


S|jg;g 


i=5f^ 


:*.i*_: 


m 


129. 


^  llegro 


Blumenfeld.     Op.  17,  No.  8. 


Tl— 1^^^: 


^=^=*--fc 


§^s=l^ 


-t^ 


"51 f ^~ 


ms 


icznf-cs^cpii: 


-fe- — 


m 


Fi± 


^=-^:^-Pi--r_^^=- 


:n ^: 


"^-;i: 


,=di^: 


g 


J 


iq-jt 


i 


W.  Rebikoff.     Op.  8,  No. 


Tempo  di  Mazurht. 


130. 


Chords  of  the  Augmented  Sixth  Misxotated. 

There  are  many  instances  of  misnotation  in  chords  of  the  Augmented  Sixth. 
It  occurs  most  often  with  the  |+  chord  in  which  the  upper  note  of  the  interval 
of  the  augmented  sixth  is  made  a  minor  seventh,  giving  the  chord  the  appear- 
ance of  a  dominant  seventh.  The  resolution  of  the  chord,  however,  shows  im- 
mediately that  it  is  a  misnotated  augmented  sixth  chord. 

In  cases  where  the  spelling  is  still  more  distorted,  the  ear  and  eye  must 
combine  to  detect  the  chord.  It  may  be  necessary  to  change  diflFerent  intervals 
of  the  chord  enharmonically,  until  a  result  is  secured  that  agrees  with  some 
chord  construction.  It  may  also  be  necessary  to  add  the  test  of  resolution  to 
this  to  make  the  result  sure. 

Mark  the  chord  as  if  spelled  correctly,  and  indicate  the  correct  spelling  as 
in  Fig  1316. 

Beethoven.     Op.    57. 
s 


1 


mLmmmm^^^m^ 


'e^ 


:iq=: 


^?« 


^1 


Db 


^li^    3 


:?i 


Beethoven.     Op.   57 
s 


i 


s^-i 


^i^ii 


:i:> 


A=i 


3      a=b|j|j 
K 


^-. 


1 


D        I  IV 


Vt 


Figs.  131a.  and  b.  are  passages  from  the  variations  in  Beethoven's  Op.  57. 

They  are  parallel  passages  in  succeeding  variations. 

Note  the  carelessness  in  spelling  the  Doubly  Augmented  4th  chord. 

EXERCISES. 

Eduard  Schuett.     Op.  17,  No.  2. 

J ^- 


132.  < 


gg"=3-^ 


moto. 


4=a: 


Hi 


53 


^=\- 


1^ 


m^^^^ 


»* 


-EQk 


-|2_=.- 


1 


pi 


.^.^-i: — ? 


i 


^ 


:!•; 


1 


TSCHAIKOVV^SKI.      Op.   40,   No.    12. 


133.  { 


=1^ 


piE 


i^ 


(^n^ 


'^:^=!i3^ 


:^=^^ 


-»-  -»-  -•-  -» 

I  !  I  I 

64 


*  J 


^—^- 


s— ^ 


S    J^  f;     Ji    S  If: 


^^iai^ 


H.  W.  Parker.     Op.  30. 


134. 


i 


6     ii"        vii;^     Bb 


The  Neapolitan   Sixth. 
The  Neapolitan  sixth  is  a  major  triad  on  the  minor  second  degree  in  its  first 

inversion.     Marked  N6.     Fig.  135.  ,     .    ,  .i,  u      i    ;=  r,fton 

To  simplify  the  reading,  the  enharmonic  equivalent  of  these  chords  is  often 

used.     In  the  key  of  Db  the  chord  would  spell  Ebb  Gb   Bbb,  D  F#  A  the 

enharmonic  equivalent,  is  almost  always  used  instead.  .        ,,     • 

The  Neapolitan  sixth  is  also  often  used  in  root  position,  and  occasionally  m 

its  second  inversion. 

Mark  as  directed  in  the  Augmented  sixth  chords. 


Mendelssohn.     Op.  33. 


135.  ( 


-U^- 


^--?y- 


^=^-^ 


>•      •'^9-1^ 


N^ 


m=^-^ 


i 


-^  »  ^ 


cp cij: , tp^n 


m. 


il      v^ 


II  VII S 


136. 


EXERCISES. 


Brahms.     Op.   45. 


Co»  mo<o  moderalo. 


■^^ 


:ttt 


fl^J 


t^ 


lafe 


1 


.If^-.    ,.-r^j£^ 


137. 


Chopin.     Op.  10,  Xo.   2, 


Allegro.  Sva. 


^^^ti±:^:k^ 


Up  t      -^^ 

^^^ 

,a«-=*A5^^^ 

^fJ:^^-:*-^^'-.^,.^ 

-^ — p — ^- 

^4_j_        -  ^ 

-J:- 

_j        It/. 

U-^ 

i"^"""     SSSSSS  ^^m 


W^— 


5^ 


Assai  allegr 


Beethoven.     Op.  57. 


2^ 


n-^i?: 


:&:^s:£a: 


138. 


>t25:fi 


Wc^:r^ 


i^^4m5'-:^ 


i^fEEti 


>^- 


=fc5: 


:g--|:-Q#-ti--^>-1^ 


=— ^zrt: 


p# •  —  « — #--- 


:&itzzzi^zi«tz=*zi 


:^: 


-9-0—t — I — •- 


fi^      -      -^^^^.^f:      .:r:-.f: 


S:=^ 


^^ 


Cesar  Cui. 


139.  < 


Lesson  XI. 

The  Skip  Resolution. 

In  the  resolution  of  dissonant  chords,  the  approach  to  the  note  or  chord  of 
resolution  is,  in  many  instances,  made  freely,  no  regard  being  paid  to  the 
melodic  tendency  of  the  voices.     Fig.  140. 

The  chord  of  resolution  in  many  instances  is  incomplete,  nothing  more  than 
the  root  being  present  at  times  This  occurs  most  often  in  the  resolution 
of  Vj  to  I. 

In  cases  of  misnotated  chords,  with  the  skip  resolution,  it  is  often  difficult 
to  find  the  nature  of  a  progression.  It  may  require  experimental  enharmonic 
changes,  and  even  then  it  may  be  necessary  to  write  the  chords  in  root  position 
to  see  their  progression. 


Eavel.     Sonatine. 


140. 


—     F-A. 

.^*    r-, 


iii'- 


r^r 


:t=t-=:t= 


.£^ 


i 


Free  resol.     I 


EXEKCISES. 


Bendl.     Gipsy    Songs. 


^         Cn  poeo  piu  lento. 


Max  Bruch.     Op.  41. 


142. 


=1:    q: 


^^^ 


^ 


^n=|E^^a 


Agitato, 


dJis:^: 


Chopin.     Op.   20. 


=ez^ 


143. 


=3£fe: 


r-ft- 


-.fel 


mi— titzz 


K      -(2- 


-5?—^- 


na 


(tep^^^ 


u^ 


t^ 


-iX r 


Franck.     The  Beatitudes. 


144.  ( 


^^f'^f^*-   X 


70 


Schumann.     Op.  '20. 


145. 


^ I I 


^fc^ 


-4--^- 


— 5^ 

=fl 

c 

r-a  J 

-  5.'    - 

eM 

\E^ 

-# ^ — ■ — 

^-^  -^=^ 

r-' 

=H 

Cadences. 
Cadences  are  not  only  Authentic  and  Plagal  as  usually  presented,  but  are 
found  in  various  forms.     Fig.  146  illustrates  some  of  these. 

Coleridge-Taylor.     Op.    59. 


146.  { 


=t?: 


1 


0 
--[== 


Db=C# 


'^3=^^^E^ 


"Op^ 


Lr  f 


t=: 


0     I 


-»^5: 


Coleridge-Taylor.     Op.    59. 

I  I 


WiW 


a^lE=s 


'^ 

I 

N6 


-5?— "i— -S 


^j 


(I  I 


c  v^m 


71 


Coleridge-Taylor.     Op.    59. 


^- 


fe 


_&^ 


m- 


Ej: 


m^ 


mm 


t^--^ 


-0-    -t&- 


-^ 


1 


IVe        it 


Andante,  moderato. 


147. 


^iEi 


IV ^=1 

L3b] 
EXEECISES. 

Coleridge- Taylor.    Op.  59,  No. 


^=l^t 


rtz:^ 


i 


.^1  { 


-^- 


i 


L/- !  r-  £  r  £  E  - 


Coleridge-Taylor.    Op.  59,  No.  17. 


Larghetto  ma  non  nioto. 

1 


148.  < 


m 


mm 


Coleridge-Taylor.    Op.  59,  No. 

Allegro  molto.  feii  "'^" 

^*-    '^   • S 1— 


18. 


i 


»-•- 


-(g- 

± 


if 


Perosi.     I.azziiro. 


150.  < 


-^#P*^=PiNisi 


Lesson  XII. 

Modulation. 

Modulation  is  the  art  of  progression  from  one  key  to  another. 

A  number  of  means  by  which  modulations  are  made  from  one  key  to 
another  will  be  taken  up  with  necessary  explanations  accompanying  them. 

It  has  been  the  endeavor  of  the  author  to  present  the  fundamental  principles 
in  modulation,  so  that  when  the  student  analyzing  on  his  own  account  meets 
modulations  that  are  different  from  those  given  in  the  text,  he  will  be  able  to 
explain  them.  Heretofore  it  was  only  necessary  to  compare  a  chord  with  the 
key  of  the  composition  to  mark  it,  now  it  will  be  necessary  to  study  its  environ- 
ment and  note  its  tendency,  since  a  chord  may  belong  to  any  one  of  several  keys. 

A  few  words  of  explanation  regarding  terminology  may  not  be  out  of  place 
here. 

The  greater  the  difference  in  the  number  of  sharps  or  flats  between  keys  the 
more  distantly  related  they  are.  Next  related  keys  are  those  in  which  the 
difference  is  only  one  sharp  or  flat.  Going  to  keys  with  more  sharps  or  fewer 
flats  is  going  to  the  dominant  side;  going  to  keys  with  fewer  sharps  or  more 
flats  is  going  to  the  sub-dominant  side.  The  difference  in  the  number  of  sharps 
or  flats  is  the  number  of  removes  (the  number  of  fifths)  distant.  To  illustrate, 
the  difference  between  Bb  and  Db  is  three  flats,  hence  Db  is  three  removes  to 
the  sub-dominant  side. 

Enterixg  the  Key  through  Its  Domin.xnt  Seventh. 
A  key  may  be  entered  abruptly  through  its  V-  chord.     Care,  however,  is 
necessary   in  deciding   whether  a  single   appearance  of  a  dominant  seventh 

73 


(when  resolving  to  I )  of  a  new  key  is  a  modulation  or  only  an  altered  chord.  In 
deciding  whether  a  modulation  is  real  or  not  the  student  is  asked  to  consider 
the  following  :  To  make  such  a  modulation  permanent  the  new  V,  chord  (and  its 
resolution  to  I )  should  be  followed  by  a  complete  cadence  in  the  new  key. 

In  slow  tempo  the  mere  repetition  of  a  progression  V, — I  in  a  new  key  at 
times  gives  a  strong  enough  key  impression  to  be  called  a  modulation.  After  all 
the  ear  must  decide,  and  since  ears  differ  in  acuteness  there  will  be  differences 
as  to  what  a  permanent  modulation  is.  There  is  and  always  will  be  a  diversity 
of  opinion  as  to  just  what  constitutes  a  permanent  modulation,  since  no  exact 
rules  can  be  set  down  for  this. 

Passages  progressing  through  many  keys  without  periodic  return  to  the 
tonic  key  must  be  analyzed  differently  and  are  taken  up  in  later  lessons. 

The  VII"  chord  permits  of  the  same  treatment  as  the  V7  but  is  not  often 
used  for  purposes  of  modulation. 

Fig  152a  modulates,  while  1526  does  not. 

CzERNY.     Op.  335,  No.  4. 
a.  I 


152. 


:-£^^^=i^ES^ 


5= 


R.  orna. 

-4— J-J- 


:=1- 


-«^i: 


:=!=:=; 


_0^  '        Ap.  orna.         '  ' 


m-- 


0—gr 


Spohk.     Last  Judgment. 

r*i  J\ — A — A — --, 


-•^s- 


s 


-1^-^- 


:^ 


IV, 


I 

IflVIe         II, 


'  5     "4 
[If] 


=1: 


EI3 


:|==*-=4±E;-=5^=--3=b^_U=J 


*3=i: 


(Y.)) 


I  I 


^ 


i=^^ 


:ttt 


:§•: 


III  I 

[3« 


I|  II.1        vii%       le  "e 

(ill     '^" 


1 


EXERCISES. 

Backer^Groendahl.  Op.  15,  No.  1. 


153. 


Andaviino. 


:3 


mm^^^ 


^^=^-\2^- 


m 


f  t  f^ 


P^i 


f ^— h:2^:z=z^g 


■E# 


EXERCISES. 


Mozart.     Sonata. 


AndarUe.    .^^         | 


m 


^±e 


T=^t 


:tiiit 


154. 


tei 


Tt==ti 


^j3E£ 


=it=g: 


4-4     111= 


:f=-i-J-»z 


§^=^2F 


^^"-^^^^^jfej^ 


^g^^ 


:t^Ltt 


-•---#( 


-^ ^- 


i 


m 


-y— S — Ui^- 


P 


S=B 


»^^" 


i=t 


_i* ± 


i^^ii^^iiilis 


-J:-. — -d -I r— ^ 


.0.  •- 


f  r 


76 


155.^ 


Sim  Lento 


Wagnek.     Loheugrin. 

,    A    ^  :l'     A 


P.n^53=^^^J==E^=^=E^^ 


Si3 


i^^H 


* 


(p^ 


J      J-      I     • 


^^=j=zt^^ 


-• Hi    I  !  ^; 


^    ^^ 


4:— i>^r:g 


^= 


r=ii-^ 


(S 


1=<: 


IJI^' 


r— t 


JL     J    I 


J^ 


S1£) 


:^ 


f:t    t 


-r^ 


ittjzezti: 


m 


iJ 


^1 


pEjgE^g^Sg^ 


I* 


l-i- 


^ 


Bit* 


"-=#1 


77 


Allegro. 


156.  / 


( 


•fT-i( 


J-*'- 


^^ 


Beethoven.     Op.  2-,  No.  3. 


m^N^ 


f^ ^— f: ^ 


— ^ It ^. 


i-^- 


=q— ^ — "^ — jg — 1— ^ 


— H 1^-=^ — t^-    I 


if:  ar  -^ 


:f=tt 


F — »: 


-I 1 


» 


H — i^-d- 


^^- 


l^jr^SEE^3E5EiE5S=^^ 


3^eS 


{ 


m^^^=^: 


Tiz=H~t 


^ 1        ^ 


—^^^ 


Schumann.     Op.   82. 


157. 


S^=i^^ 


+=^ 


tfc2=t 


*      ^ 


:3=F^; 


^|5= 


:$^ 


LilJl-^^i 


ii 


1f*=n£- 


n* 


Common  Chord  Modulations. 

A  common  chord  modulation  is  one  in  which  the  transition  to  the  new  key 
is  made  by  means  of  a  chord  that  is  common  to  both  keys.  If  the  key  is  so  far 
distant  that  there  is  no  common  chord,  then  a  modulation  is  made  to  an  inter- 
mediate key  and  from  it  to  the  final  key,  always,  however,  by  the  use  of  common 
chords.  To  illustrate  :  in  going  from  C  major  to  F:^  major  there  is  no  common 
chord,  hence  a  modulation  is  first  made  to  E  miner  or  B  minor,  which  contain 
chords  common  to  F:^,  and  then  to  F^.  These  intermediate  keys  are  often  only 
touched  upon,  sometimes  not  containing  more  than  two  chords.  The  final  key 
is  made  permanent  only  by  an  extended  final  cadence,  i.  e.  a  cadence  containing 
more  than  the  progression  V-,  I. 

In  marking  indicate  the  location  of  the  chord  that  is  common  to  both  keys 
in  either  key.  and  continue  marking  in  the  new  key.  Mark  all  intermediate 
keys.     Fig.  157. 

Brahms.     Eequiem. 


158.  < 


9    IV 


The  minor  sub-dominant    in   major   keys  and   enharmonics    are   used  as 
common  chords. 

A  major  triad  may  be  altered  to   minor  or  vice  versa,  the  altered  chord  be- 
coming a  chord  in  the  new  key.     Fig.  159. 

"Wagxer.     Lohengrin. 


i 


^m 


■^km-^£-m 


j^=t 


'-m^^. 


^— g 


#^-p^ 


'bJM    =^ 


159. 


D    I 


F    VI  I|  Y, 

EXERCISES. 


i 


Mexdelssohx.     Op.  14. 


160.  J 


^   P^w*^   w»      w»- 


3=dt=r. 


^  ^ ■III        I    ^^^S^*:^-"-, • !   .  I     !    !       -^^^=^ 


%\ 


■i^—-^^;,^ 


t:f*ti 


~*^^^^^^^sJ^ 


:Ct^ 


£^^ 


%-t^-^^ 


:i=^ 


1^— iT-^^ 


-4 — U 1=: 


~R*- 


I 


Wagner      Lohengrin. 


m^m 


161. 


^•^J?^ «L.tt^ll:J: J A 


'    -gp?       j|J-^^4^- 


i^gS 


Schumann.     Op.  23,  No.  3. 


162. 


I     i    ^— 


^i^^Si=E^ 


^r- 


fe|liii=1^3=^J 


^i 


i 


81 


Lesson  XIII. 

Modulating  by  Means  op  the  Diminished  Seventh  on  the  Raised 
Fourth  Degree,  and  by  Me.vns  of  the  Augmented 
Sixth  Chords. 
By  Means  of  the  Diminished  Seventh  on  the  Raised  Fourth  Degree. 
The  Diminished  Seventh  on  the  raised  fourth  degree  of  the  new  key  resolv- 
ing I|  followed  by  V7,  I  (sometimes  to  V7),  makes  a  strong  permanent  modula- 
tion.    Fig.  163a. 

In  major  keys  this  chord  is  sometimes  notated  like  a  diminished  seventh  on 
the  raised  second  degree.     Fig.  1637^. 

Beethoven.     Op.  7. 


'^ 


163. 


-^ 


!iE5=*^ 


^ 


:ttt 


--f=f-tF 


:^=t 


x^p—f-nr-^i 


:p=« 


Schubert.     Memnon. 


titt^-i^ 


sm^^mmm^- 


^_j-— g-^^ 


'm^^^^^^ 


Db      ni 


1      '  tr^- 

VI?      Vt      le    Ab  111  I4       V,       I 


164. 


83 


i^^g^^ 


=5^ ^ f- 


^ S f-F- 


4£-^ 


-tts 


t&: 


^-  "^ — r — ^ — ^- 


t^^E^ii^E^^^^E^^E^^t^^^Eti-,. 


tit=: 


S^feE^E^Efefei 


±==t 


te^a 


^: 


Chopin.     Op.  42 

I 


165. 


:«•: 


:t=t: 


J  -t 


, M2- 


Schumann.     Op.  23,  A'o.  4. 
-ft-  ^ 


166.  { 


Einfach.  j>l      N  I  I  -#-t  i: 


tE^ 


t— T 


167. 


Wagner.     Lohengrin. 


:BEE=^^ 


I  -I^r 


^j:E^-|E:^i_^g::iiE^|E^iE:-^SE^ 


.1 


:£:, ^V 


By  Means  of  ax  Augmented  Sixth  Chord. 

A  key  may  be  entered  through  the    5       4+    or    4++   of  the  new  key. 

3  3 

When  an  Augmented  sixth  chord  in  its  conventional  form  is  located  with 
its  k)west  note  a  major  third  below  the  key-note  it  resolves  naturally  to  If.  This 
is  called  its  conventional  position,  and  when  so  located  and  resolved  gives  a  very 
strong  feeling  for  the  new  key,  and  forms  a  permanent  modulation.     Fig.  168. 

Misnotations  occur  often  with  these  chords  when  used  for  modulatory 
purposes.     When  they  occur  note  them. 

Liszt.     Christus. 


168 


EXERCISES. 


^: 


S= 


-• — •- 


4=f: 


Chopin.     Op.  59,  No.  1. 


'^=i-r- 


:?= 


J — ^-^ 


170. 


I. J 


M=:f=^=t=tr 


m=M^^^ 


Franck.     Beatitudes. 

-I- 


=^pteE|s#^^^^ 


-&2^ 


-?«'-T- 


^=-=^=ii^i 


-^ 


-Sii:i==3± 


:^A 


■^T 


;=*=^ 


f 


:3I 


^MT"-' '^ 


4-^ 


*-*=fcis:3EI?Et 


-I n 


^=5351 


:t:!^l-=t 


Beethoven.     Op.  13. 


Allegro 


171. 


fetEtat^- 


^^iiB 


(P 


E^i 


F^=P&| 


it-- 


Allegro 


Chopin.     Op. 


172. 


p 


§^-5=ii^:§^ 


— * ai — — — jJTil, — 


173. 


Marcato.     \ 


:S5^^= 


Schumann.     Op.  28. 


I — I- 


ri= 


:p=t 


"*~L^t~#" 


^S^t^=^^ 


l3^ 


^3=i=J 


lififi: 


38! 


=?^ 


i 


Sittti^S 


tt 


:a*, -.— 


w^ 


WT~F 


I 


^ 


z^ 


t^l^:^" 


R^S^^=^^^r=Ff#r 


T^''    '       T|-?1      '       T-I-Pl 


^ 


tr 


3= 


174. 


R.    Strauss.     Op.   15,  No.   5. 

I 


5S^==P^||g^fg 


s 


Lesson  XIV. 

^Modulating  by  Means  of  the  Neapolitan  Chord,  Alteration  op 
THE  Diminished  Seventh,  and  Deceptive  Resolution  of   V?. 

By  Means  of  a  Major  Triad  onvthe  Minor  Second  Degree 
(Neapolitan  Sixth). 

A  key  may  be  entered  through  the  major  triad  on  the  minor  second  degree 
(N6  orNS).  This  chord  and  its  regular  resolution  forms  a  strong  i)ermaneut 
close. 

Mark  the  modulating  chord  (N6  or  N8 )  in  the  new  key,  and  continue  in  new 
key.     Fig.  175. 

For  sake  of  simplicity  in  reading,  this  chord  is  often  enharmonically  changed 
when  going  into  keys  with  many  flats.     In  such  cases  give  its  true  spelling. 

Brahms.     Nanie. 


175. 


^s-^i 


:H^=t 


Vt^ 


^=TJ1 


—4 


,j=:_^: 


-^— 5?- 


-J^— ^- 


^ 


m^ 


=1: 
F     T 


Vt 


EXERCISES. 


176.  < 


^tT^ &•- 


tt 


1 


^^=^^^^E^ 


t^ 


t+#- 


^1 


=t*- 


WoLF.     Christnacht. 


177. 


Alterations  of  the   Diminished   Seventh  to  a   Dominant   Seventh. 

Lowering  only  one  tone,  or  raising  any  three  tones  of  a  diminished  seventh 
a  half  step,  changes  it  to  a  dominant  seventh.  Unless  such  progressions  and 
their  resolution  to  I  are  followed  by  a  final  cadence,  mark  these  chords  as 
directed  in  previous  lessons.     Fig.  178. 

Schumann.     Op.  12. 

At.  chd.  Pass.  chd. 


178.  < 


i 


nr-f 


-e-hi?= 


— I 

F$  =  G1j 


^^m^ 


b[j     viiSo  I       viio    ig 

5 

^    Reduction  of  the  lower  staff. 

Diminished  sevenths  are  often  altered  as  above,  and  notated  and  resolved 

as  the  5+  or  4-h-  chord  of  the  new  key.     They  are  also  altered  so  as  to  become 

6+  * 

4+    chords  in  the  new  key.     Fig.  179. 

3 

Mark  the  diminished  seventh  as  an  altered  chord  in  the  old  key  (if  it  is  not 
vii2o).  The  Dominant  seventh  and  the  Augmented  sixth  chords  are  marked  as 
being  in  the  new  key. 

Misnotations  often  occur  in  these  modulations.  Indicate  correct  notation 
in  such  cases. 

Spohr.     Last    Judgment. 


EXERCISES. 


180.  { 


Presto.    , 


t^- 


Chopin.     Op.  54. 


^-^--^rtt^^- 


»-^- 


m^ 


^^f= 


Sfe 


:§^i 


1^ 


E^i 


tf-^'' 


l-"^- 


if 


I^S 


:it 


^: 


:=pt 


_fs_^ 


i^: 


=-^= 


:lg^_jC-[-=g— ^ — S=^:^ 


181. 


fetf:     i-j^se    £  r't^ttt^.^-,-,. 


m 


-\y-^f^»»m»J»^»—f*rffi-rii^ 


92 


182. 


Bendl.     Gipsy  Songs. 


Andante. 

:i^i-n-t1 


>    ll. 

-■I iSH— 


The  Deceptive  Besolution  of  the  Dominant  Seventh. 

A  Dominant  seventh  may  resolve  to  any  chord  in  any  key,  and  is  valuable 
as  well  as  interesting  as  a  means  of  modulation. 

Its  resolution  to  V,  or  I  of  the  new  key  is  most  frequently  used  in  modulat- 
ing.    Fig.  183. 


183./ 


Schubert.     Symphony  in  C. 


r — r — r 

E  E 


1^17 


i^=it 


~t=t=LT 


^SS33^ 


O- 


f-z^t 


Bb  I 


J^i 


rrr 


VI«  vn« 


^=^  ^  "^  [#  ,- 

N* 

:^:- 

_^ ^-—i —T] 

f^ — 1 — f= — -f-— *- 

=s= 

1— ^= 

1 — 

r — ^- 

iv«     G    II 

[111] 


Vr 


-it  The  resolution  of  Augmented  sixth  chords  when  in  minor  to  major,  or 
vice  versa,  is  quite  common. 


93 


Beethoven.     Op.  54. 


K^=-:e^ 


A    i  vug   Is 


184.  < 


EXEECISES. 
Allegro  agitato.  ChOPIN.      Op.  66. 


^ 


t=.t 


:titt3^=ti 


— .^— I — \ 1 — \ — — +r— I — I 1 — — H — — \ 1 — h- 


1 — r^ 


r-\ — \ 


r-n — r^ 


m^. 


0 — •-• 


p^^f^=Fg; 


r-r^— r 


=:z^t:--=t=t=« 


94 


(tei 


Allegro  con  brio. 


:J,i==z!bj 


i 


Bendl.     Gipsy  Songs. 


-n- 


5=^ 


w- 


185.  < 


-tti!- 


j?5^3^ 


ii^;::p5 


-^-1 — r 


^^i 


(^ 


i 


tzr.*T 


186.  < 


&5 


Allegro. 


Beethoven.     Op.  14,  No.  1. 

^1        i         1 


«3l 


^=§^ 


I 


§S 


f^^iL-^-^-q 


J*=l^ 


I         I 


:4f*: 


fr^- 


psa 


n: 


yp- 


FiG**- 


Fil3^' 


g 


187.  < 


Lebhaft  bewegt. 


«I 


S=t: 


:«*: 


i^r^^^^ 


Hugo  Wolf.     Christnacht. 
• ^ • 


Lgp=JgzzEE^ 


^ 


IE& 


^ 


Allegretto. 


^' 


Elgar.     Light  of  Life. 


188.  / 


Lesson  XV. 

Succession  of  Keys  without  Modulating,-  and  Successive  Tonics. 

There  are  instances  when  the  transition  to  the  new  key  is  made  abruptly, 
there  being  no  apparent  connection  between  the  two  keys.  Transition  of  this 
kind  are  strongest  when  the  material  on  entering  the  new  key  is  an  imitation  of 
the  preceding  phrase.     This,  however,  is  not  necessary.     Fig.  189. 

Elgar.     Caractacus. 


189. 


190. 


AWgro. 

=1" 


'M—^--^ 


^5- 


^=t 


EXERCISES. 


Elgar.     Caractacus. 


^^«:4 


1         I 


it 


=1= 


q— q= 


:g:— S"- 


:E3:_J2zi3 


^ — ^ 


:£=^ 


-I — I i — ' 


p 


'-T- 


^.  *  pr^fri^lfer ^^J^i^^ 


Haydn.     Creation. 


191. 


i^;s^^^ig=^y|i 


Langsam. 


192.  < 


Schumann.     Op.  82,  No. 


1^  I    —  t^W^J 


l£E 


97 


Passages  Modulating  through   Maxy  Keys. 

In  passages  modulating  through  many  different  keys  in  which  the  feeling 
for  the  old  key  is  entirely  lost,  mark  all  chords  in  their  different  keys.  Place, 
however,  as  many  chords  as  possible  in  one  key  before  changing.  Moving 
through  different  keys  in  this  manner  destroys  all  feeling  for  the  tonic  key,  and 
since  no  one  key  has  been  clearly  established,  marking  in  the  above  manner  is 
the  most  satisfactory. 

Care  must  be  taken  when  apparent  modulations  occur  within  modulations. 
A  clear  modulation  may  have  been  made  to  a  key,  and  in  this  new  key  altered 
chords  may  have  been  introduced  that  touch  upon  still  other  keys,  but  immedi. 
ately  return  to  the  new  key  without  having  made  a  definite  key  impression- 
These  must  of  course  be  marked  as  altered  or  attendant  chords  in  the  new  key. 
It  is  only  when  the  modulations  follow  in  quick  succession  that  each  change  of 
key  is  to  be  noted.     This  is  at  times  necessary  with  every  chord. 


Consecutive   Dominant    Sevenths. 

Passages  of  successive  dominant  sevenths  of  different  keys  often  occur.  The 
most  common  progression  of  this  kind  is  to  the  sub-dominant  key.  Other  suc- 
cessions of  dominant  sevenths  are  not  uncommon. 

When  three  or  more  of  these  chords  succeed  one  another  mark  each 
dominant  seventh  in  its  apparent  key,  otherwise  mark  as  altered  chords. 
Fig.  192. 


WMmm 


193. 


I      I     r      i-,'^ 
I 

Mi 


a^'    ■ 


^lozART.     Quartette  D  Minor. 


*^-F-j^^ \riw — -   -^— # 


r,^ 


J?  -f--r5^. 


--t: 


-I ^- 


lle      i|      V,     D  V. 


-^ 


G     V, 


W^^ 


c    V, 


98 


=^^^'-4 


t^ 


• — • — ^ 


2^      S     TT    T- 


^=lpia 


itziitz: 


I     -^1 


.1 


bb     V»  1  t/    ivt 

EXERCISES. 


\  1 


CZERNY.      Op.    335. 


194. 


l^.^A^&&:tr^^&3^l 


:^fe#i^^iil^ili=||^i 


-P # 


|||^aEi:t^g*gr^*t^=J^i^ip^ 


lli-_|=fc=fi- 


-«!-  *  ^^  *. 


*t 


t  £  - 


5-=-.-^a 


( ^^^i^i=MJfe||:fejr^i^cgji^|:feg 


99 


195.  / 


^•^    •      -•-  -*-        fed;  ^  -^ 


-                     i  I.         J   ^^^1        1^    I        I          J             f**!^ 
1 1 H i- 1 ■— t— .-zfi * — H-» — I \-^—0-^-w — •-» 


-I — r 


t-r— r— r 


Cramer.     Study. 


Prestissimo 


196. 


1^?^ 


:i=i=r=--=i^ 


:^ttcitL--EE: 


&:^i 


^f^ 


C^if: 


^EES^ 


P=^^=^=feii 


( ^-=^~u-"- 


tts 


=1= 


1*-  If:      • 


=^: 


teiiis^i 


fc=^: 


i|^ 


Consecutive  Toxics. 
Passages  also  occur  in  which  there  is  a  succession  of  triads  that  have  no 
relation  one  to  the  other.  These  are  to  be  analyzed  as  consecutive  tonics,  i.  e. 
call  each  chord  the  tonic  of  a  key,  Fig  197.  Do  not,  however,  misuse  this 
privilege.  Many  passages  that  appear  like  consecutive  tonics  may,  after  a  closer 
examination  or  enharmonic  change  of  some  of  the  chords,  prove  to  be  in  one  key. 

Wagneu.     Tristan. 


197. 


^^- 


=tt^= 


t-3^: 
1-^- 


E^^^- 


A  1. 


Ebiie 


"^^^^ 


^^^ 


'-n* 


i 


Ble 


198. 


EXERCISE. 


Wolf.     Christnacht. 


#-  -^        B-«- 


101 


' — — - — • 


t^iiU  jit  /71- 


^%>  ^  ^ 


Ss 


:fic 


-^ — r  ^gt  ,^1        _  I        " 1 


:^r!t     U-. 


4?  *-? 


^?^ 


f5^ 


^=-ii= 


=ifc 


.      ^-- 


^ 


S^ 


^«*- 


iT-     T^       ^ 


^^$i 


;?^ 


^-EL-A^^EaEjEjEJ^r^E^^ 


^?^^-^-^ 


W 


3* 


ii#g£ 


I 


?«^ 


5E^ 


Wagner.     Parsifal. 


102 


§m 


200.  < 


Andaniino. 


Z±^Z 


^^ 


j^p .  b»   »- 


tt^- 


¥1^ 


itikzl 


WiTHOL,     Op.  10,  No.  1. 


^ 


ei^ 


f  I 


•_• ^ ^__f — ^_# 


1= 


>- 


i:: 


S 


"J31 


^eii^: 


'¥  I 


I — I — r 


I     ! 


Bf    i     I 


103 


Lesson  XVI. 

Consecutive    Diminished    Seventh    Chords,    Chromatic    Passing 
Chords,  and  the  Sequene. 

Passing  Diminished  Seventh  Chords. 

In  passages  of  passing  diminished  seventh  chords  merely  indicate  them  as 
such,  marking  only  the  first  and  last  chords.     Fig.  200. 


201./ 


Beethoven.     Op.   10,  No.  3. 

E        E 


m^^^^^^ 


■-^^-^~$^^-^ 


im^^^i 


fK^-^-^f^wSp^ 


Passing  dim.  7th.- 


ri"  T 


Consecutive  chords  of  the  diminished  seventh  occur  occasionally  in  which 
possibly  not  more  than  two  members  of  the  chords  are  present.  These  are 
harder  to  analyze.  Examine  Fig.  201,  where  apparently  there  is  a  progression  of 
broken  minor  sixths  and  diminished  sevenths  alternating.  If,  however,  the  two 
intervals  necessary  to  complete  these  chords  of  the  seventh  are  added,  a  very 
clear  succession  of  passing  diminished  sevenths  will  result.  Passages  like  this 
really  come  under  the  head  of  two  point  writing. 

104 


Beethoven.     Oi>.  10,  No.  :?. 


202. 


— t — ^— P- 


d.    I, 


Cons.  dim.  7ths.     Each  group  of  2  notes  one  chord. 


'-^^- 


'^^^^^m^^. 


¥i ^^- 


.       ..^--- 


P^^ 


:|     I     I  -P 


I — r- 


F' 


Vv 


EXERCISES. 


Beethoven.     Op.  111. 

2i 


203. 


Schumann.     Op.  111. 


204. 


i^eEs: 


•^  ^r  r  r  -7 


M^3: 


g 


J-^^J-i 


j^at  I 


&iL_ 


^ 


i=e:^!z= 

^-^ 

1 

^ 

.  1 

1 

..jj- 

=^^: 

^■j^.: 

— TT "'^ 

"27 

Kii 

-p- 

=fe— 

^2- 

%f^. 

J 

I  ! 


Hi 


;2=i]= 


^E^m 


-0-    -&- 

106 


205.  < 


Allegro. 


TiNEL.     Francis. 


^-ft-^^?^^    r  M    pfij"-- — -Q-^^ 


%r 


^ 


-&•- 


A^ 


:z*E5E^; 


PE^^piHii 


Chromatic  Passing  Chords. 

Introduce  passing  tones  in  more  than  two  voices  and  a  passing  chord  is  the 
result.  If  some  of  these  tones  are  chromatic  passing  tones,  then  the  chords  are 
chromatic  passing  chords. 

Progressions  of  this  kind  in  Lesson  IV  had  to  do  only  with  a  single  chord. 
In  the  present  lesson  a  succession  of  such  is  treated.  The  upper  voice  usually 
moves  by  a  step  or  half-step.     Fig.  206. 

Mark  the  principal  chord  as  usual,  and  the  chromatic  passing  chords  as 
such,  taking  up  the  usual  marking  of  the  principal  chords  when  they  reappear. 

Chopi.v.     Op.  No.  4. 


.^=^^^^^^^^. 


206.  < 


107 


"^^m^^^^mm 


Statkowski.     Op.  23,  No.  3. 


i 


m 


msim 


Qi*- 


§«=t 


* 


_tt. — f-    tt>- 


-:=t 


T^-r4-^ 


fei^ 


^^=*=^ 


=1: 
C  1| 


Passing  chords 


^«-       ^-       ^-?^ 


Gfe  V, 


Chopix.     Op.  4.*. 


108 


Cadenza. 


^lE^ 


-I ^— I ^ ir    )L     I ci JP-hU— 1*-1- B»— iJ — '-f- 


r=E£#s 


,^rz:t:-r=t=-:^ 


Passing  chords- 


207. 


Chopin.     Op.  33,  No.  4. 

8t;a, 


^^^ 


SEEE=^"^-"ErE^E^EzE^EJ£^ 


^ 


=3^- 


i53E=iE3E^S 


=&-: 


-•-  <^  V 


tr 


^: 


^,  ^         «::  _f5|^ 

eid-'MT^.: 

-^'-. 

Wry W 7^-J— "^-^P — 

'l^_     tl^.         If:      S:^ 
F         — t:-     ^    F    t     -E^ 

.^- 

^^t_4:       f  ifeT"    ^"^ 

..  .-1  -       .... 

^  -il: ' 

;i^^^£^^ii 


g^^^^^g=3^^^=^:g 


109 


208. 


Bachman.noff.     Op.  3,  No.  5. 

I     ^^^1   H:i:^.    stt:t    "^^ 


es^ 


2*: 


^^^mmm^^si 


:g=|:JIi=d=fe«Jr|:=;-jrg|=pg 


Sequence. 

A  Sequence  is  the  repetition  and  transposition  of  a  melodic  figure-  The 
interval  of  transposition  should  be  the  same  with  each  repetition      Fig.  209. 

The  transposition  may  be  from  one  degree  to  another,  or  from  one  key  to 
another. 

The  sequence  is  usually  accompanied  by  a  sequential  movement  of  harmon- 
ies.    This  should  be  borne  in  mind  when  analyzing  the  harmony  of  sequential 


In  modulatory  sequences  the  dominant  or  leading  tone  chords  of  some  of  the 
keys  are  occasionally  altered.  There  is,  nevertheless,  a  strong  key  impression 
because  of  the  sequence.  Indicate  the  key  in  each  of  such  cases  as  though  no 
alteration  had  been  made,  and  mark  the  altered  chords  as  usual.     Fig.  2096. 

Find  the  extent  of  the  figure,  mark  it  with  a  bracket  i — i ,  as  in  Fig.  209,  and 
mark  each  repetition  of  this  figure  in  a  like  manner.  Should  the  figure  be 
changed  and  be  carried  out  sequentially,  proceed  in  the  same  way  with  the  new 
figure.  A  single  repetition  is  usually  sufficient  to  establish  a  Sequence.  In 
very  short  figures,  however,  those  having  not  more  than  two  to  four  notes  a, 
second  repetition  may  be  necessary. 

110 


Liszt.     Christus. 


209. 


a.  -fij- 


-(2- 

t 


I  r 


Sfl^P^i^^^i&s^^^ 


^' — -^    ti^ 


:t-: 


F    IVe       vii?o     Vi 


I 


iiieEb  vii?o  Vi 


m 


==^===2^ 


:^^= 


=S 


^^- 


m 


A=Bbb 
— «> 1 ^(9- 


-IV 1 — 


=^^" 


iS: 


-9^- 


-&'5'- 


il 


ni6    Dbvii?o  Vg 

[vhfe] 


Ap. 


Ap.      I  Ap. 


Chopin.     Op.  16. 

Ap.      I     I        Ap.  I 


'm 


&2=2: 


s^ 


:fei 


q=S 


g=3= 


9 


iS 


Bb     Vt  EbVyAfeV,  DbV,Gl7V,       C  V^  FV^  Bb  V^  ebV, 


EXERCISES. 

Mendelssohn.     Op.  14. 

.0.       :ttt#-   -        ^-   .      -0- 


210. 


it,.      ^.        St..      ... 


I#lt    I    1 — ,-t,  I    I    I=p1g? 


c|i33=«EiE*E£3=  33?=: 


(s 


"ii' 


^^E3^9s^==j^=j: 


lit 


Chopin.     Op.  16. 

3 


211. 


Ml^„H,at,\^  ^        -^  ^        -^         ^ 


s:p 


te^,=^^ 


fe^t 


SiSEE 


— ^r 


2F- 


is 


^^,^f_^_,- 


(i^ 


(^^=iji^ 


it^fzzf^'EE^ 


=ti-_&p^P=^^T=iE=^ 


:t=zE:?z=z=t= 


i>?- 


g^^^^l^^gEp^^pi^^ 


HdZ: 


->- 


3EEEfe?=S= 


« • — iz5 1 


p-r«=^r 


Cramer.     Study. 


212. 


^=E^^Ei^EE^^^^^i 


^=1-g^=^ig^=i^JE^ 


Lesson  XVII. 

Two  Simultaneous  Harmonies,  One  and  Two  Part  Writing. 

Two  Harmonies  Appearing  Simultaneously. 

It  sometimes  occurs  that  there  is  a  definite  impression  of  two  simultaneous 

harmonies,  one  of  which  is  other  than  an  Attendant  chord,  Fig.  213.     Mark 

each  chord  separately.     In  cases  where  the  second  chord  is  but  an  Attendant 

chord,  mark  as  usual. 


213. 


E        F        fa 


LiADOW.     Op.  9,  No.  2. 

E         E        FA 


4 -i 


m 


-0--=-\^=t 


1 

Ab     V, 


I        Ap. 


EXERCISE. 


Mendelssohn.     Op.  14. 


214. 


%--^\^- 


^M^~ 


ii_-ztzif^ 


215. 


Wagner.     Parsifal. 


w^ 


1=t:==--== 


ii^=^^^^^3Eg£i^E 


V- 


V 


^1^5 


E^t^ 


:^iizz=f_J4-U_J 


&*- 


JrJ=s?W=?3='=St33a:i 


Two  Part  Writing. 

Under  two  part  writing  only  such  compositions  are  considered,  both  parts  of 
which  have  equal  melodic  individuality.  Those  in  which  one  part  is  clearly  a 
broken  chord  effect  have  already  been  analyzed.     Fig.  215. 

In  analyzing  two  part  writing  it  is  sometimes  necessary  to  supply  missing 
intervals  or  to  group  several  notes  together.  The  tempo  must,  however,  always 
be  considered.  In  slow  tempo,  progressions  are  often  heard  as  change  of 
harmony,  where  in  quick  tempo  they  would  give  the  impression  of  but  one 
chord.  (See  also  Lesson  I).  The  accented  note  of  two  notes  belonging  to  the 
same  harmony  decides  the  position  of  the  lowest  part  of  the  chord,  but  in  slow 
tempo  both  may  have  to  be  marked.  A  root  with  passing  seventh  in  the  lowest 
part  gives  the  impression  of  the  third  inversion  only.  A  chord  with  the  passing 
seventh  in  an  upper  voice  unless  one  of  a  series  of  passing  tones,  mark  as  a 
chord  of  the  seventh. 

ScHUMAXX.     Op.   72,  No.   2. 


216. 


33=3:^^ 


:S«= 


—I M^—'  I  ^~n 


g    I 


t=\=^ 


V? 


Ap. 


itrt 


^^1 


m--^— -£^E^^BE[>:zf=g=^=:g 


^ 


m 


I 

div 


116 


CZERNY.      Op.    335. 


Allegro  vioderalo. 


217. 


M.  .0.  ^, 


iiiP^^S^i^^fel 


|^=^_=j^^J^^E^^=^ 


Mozart.     Sonata. 


218.  < 


( 


A'legro.     . 


I  ij- 


i* 


:»=?i 


1 


/fegjgi^EpE^P^^aij 


I 


(^? 


1=^^ 


:3^ 


-;=^ 


Eg^E£i 


117 


.^r=f=t 


f=£f:&T=f 


f  -  tu  *  ^ 


-iifi-.^ 


-I 1 W-    -K 1 F-   -)— 


P^E^iEEiP^^^^I; 


t=        I      — ^ 


-t^ 


It: 


^£»:f:  £•        i:r-^-^^f:t.-frf: 


,-!?^-  -•-  -^" 


s^*-*-  -• 


^* 


i 


fcp_=El:«JE?-i^=i%:=l£|?E^i^^^ 


Allegretto. 


Bach.     Prelude. 


219. 


1 


118 


^s-S.- 


gi^Vit=^i==ri± 


i^^^E^g^ 


One  Part  Writing. 


In  analyzing  unaccompanied  melodies,  the  harmonies  in  many  instances  are 
conjectural,  since  possibly  only  two  tones  of  the  chord  appear,  and  they  may  be 
either  one  of  two  chords.  The  same  general  plan  given  for  analyzing  two  part 
writing  holds  good  here.     Fig.  219  is  an  interesting  example  of  one  part  writing. 


220. 


Ap. 


^5 


Chopin.     Op.  23. 

Ap.  orna. 


I^JAJ- 


^^e: 


-•^i: 


r-r 


I       ^ 


r^D- 


teelfe?^-5Ete 


■^J- 


(9       • 


rr^ 


[lb] 


VIIO 
(5) 


^    ^"  r  ^ 


^2: 


1(5) 


IV(3)- 


:^^1 


119 


Chopin.     Op.  39. 


Presto  eon  fuoco. 


221.  { 


t=^=^ 


?=--•= 


120 


«P=f:lr 


-^-    -"P 


:^i 


=,^=^="-li^ 


_§1 


,j>- 


l::ii^FJ^^&=l=cJr- 


iEEEt 


I 


1 


•— ^ 


II 


{m 


■-^=t- 


-* — =1- 


iH 


t^ij:-'-^    ^:  ij;  z]:  9  ri:  :^       == 


f 
MozAKT.     Sonata. 


:f:  ifc      ..-if::)!!: 


223.  ( 


-ri--t 


^^^^"S3:=3 


^ilEiEEiEElEjt 


^— • 


^fEf^^3ii^^^^ 


i^ 


^iS^E^iir^^EF^^^;^ 


J=W=f=^i=W=f^ 


p  r  ^ 


s — • ra y — s— r^ — F ^— 


X     ^    ^ 


Lesson  XVIII. 

The  Church  Modes. 

In  addition  to  our  modern  modes  (major  and  minor)  that  have  been  analyzed 
so  far,  much  music  is  written  in  the  "Church  Modes."  There  are  six  of  these : 
the  Ionian  (our  major  mode),  the  Dorian,  Phrygian,  Lydian,  Mixolydian  and  the 
Aeolian.  The  last  being  the  original  form  of  our  minor  mode.  These  modes 
are  written  as  in  Fig.  224 


Ionian.     (Our  major  mode.) 


224, 


-<©— ^ 


Phrygian. 


"-5t=s: 


-S—^ 


T^r~g?" 


Lydian. 


?3^~3 


s 


^ S^ g- 


s?— ^ 


E--^-^--^---- 


Mixolydian. 


Aeolian.     (Our  original  minor  mode.) 


I 


-&—a- 


s>—a- 


-B>-^— e-zf^ 


j9— ^ 


The  following  are  a  few  of  the  above  with  other  signatures. 


TZy^- 


s^: 


rS^- 


g^I^^ 


,-fi^- 


«.«2 


«>^ 


h^^-^- 


A.  Phrygrian, 


Eb  Lydian. 
122 


On  anal.vzing  the  ab6ve  it  will  be  found  that  the  Dorian  mode  begins  on 
the  second  degree  of  a  major  scale  and  progresses  upward  an  octave,  the 
Phrygian  on  the  third  degree,  the  Lydian  on  the  fourth,  the  Mixolydian  on  the 
fifth,  and  the  Aeolian  on  the  sixth.  The  starting  point  of  each  mode  being  its 
tonic. 

Since  some  of  the  modern  writers  are  making  such  frequent  use  of  these 
modes  in  producing  many  of  their  unique  effects,  it  has  seemed  advisable  to  ask 
for  an  analysis  of  the  mode  as  well  as  the  harmony  of  the  following  exercises. 

In  order  to  find  the  mode  of  a  composition  assemble  the  different  notes  of 
the  melody — and  harmony  if  necessary — find  the  point  of  repose,  put  the  notes 
in  alphabetical  order  and  compare  with  Fig.  224. 

Do  not  rely  on  the  signature  as  a  clue  to  the  mode.  While  e.g.  the  Dorian 
mode  beginning  with  d,  usually  found  with  the  signature  of  C  major,  it  may  also 
be  found  with  the  signature  of  F  major,  the  b,  however,  always  being  natural. 

Occasionally  modes  modulate  to  other  modes  This  is  easily  recognized  by 
the  appearance  of  tones  foreign  to  the  mode,  or  by  the  cadence  at  the  end  of  the 
line.  Fig.  225a  begins  in  C,  Dorian,  makes  a  digression  to  C  Aeolian  at  the  first 
hold  and  returns  to  C  Dorian  in  the  next  line. 

The  seventh  degree  is  raised  freely  in  final  cadences,  particularly  in  the 
Dorian,  Mixolydian  and  Aeolian  modes.     Always  indicate  it  in  the  analysis. 

Tones  are  sometimes  altered  for  the  sake  of  color,  but  are  not  used  enough 
to  induce  a  modulation.     Mark  these  as  indicated  in  previous  lessons. 

Passing  embellishing  tones  etc.  are  also  often  used  in  altered  forms  in  the 
harmonization.     This  does  not  affect  the  mode. 

The  final  chord  was  usually  written  major,  no  matter  what  the  mode.  This 
does  not  affect  the  analysis  of  the  mode.  In  analyzing  give  the  name  of  the 
mode  and  analyze  the  harmonies  in  this  mode. 

In  marking  the  mode  give  also  the  key  from  which  the  mode  takes  its 
tones,  e.  g.,  C  Dorian,  F  Phrygian  etc. 

Examine  the  illustrations  with  regard  to  marking  keys,  chords,  modulations, 
alterations,  etc. 


Bach.     Choral. 
C.  Aeolian.  C.  Dorian. 


225. 


#- 

J 1         .  4— 

— ^ 2 — ^ 

-, — , 

^    !         ^ 

^  fl 

[ 

1        1 ' 

r     r 

1 

=bt^ 

-J— g 

1 -" 

VJlg  JV|  vile         III      I 


IV     le       II-      V  I 

[3«         [3S] 


Chopin.     Op.  41,  No.  1. 


fi 


olian.  _ 


Arkhaxgelsky.     Eussian  Song. 
E  E 


(=ti=:ti=^ 


4— *"*- 


^ — ^ — ^ — 


Pll 


-» — ^ 


VII        III  VI    VII 


I       J-         l^\      r-"  is      Mai   ^     ^       .     . 

^W  0  1^0  I  "^^  I  I  '  1 


(lZ^=r=r=gFE 


124 


EXERCISES. 


Bach.     Choral. 


( 


:26. 


m\ 


^luLA^       ±JL.J     jIZ 


r-    0t- 


i— r— ^ 


■p-^- 


:(=: 


ipi?: 


t=*: 


pra 


Cl.  Debussy.     Ballade. 


227. 


125 


Maukice  Eavel.     Sonatine. 


228.  < 


Moderat'i. 


a&2 


^ — Si    »i        0        *  r 

4—^    j    Fi    ^    n • s • Si- 


"S     ^  /- 


l^£^=^r^ 


i 


:^=i=|: 


:|= 


KORESTCHENKO.     Op.   22,    No.    2. 


Allegretto. 


229. 


"^^    *       •^  -r  i^ 


-^^ 


•^;i^ 


230. 


Chopin.     Op.  24,  No.  2. 


Allegro  non  Iroppo       .^      m  'f^  m 


te^^g^^fei 


^^  .=1  - 


:t==t:: 


:t== 


m 


HOBRECHT.      1430-1506. 
Salve    Regina. 


231. 


q==l= 


_3:_^ 1 1 1- 

I  /      I        r 


:f^ 


^_.^ 
^ 


^^^¥3=ES^=^= 


T=l: 


»H— ^ ^— si 


C^ 


r^— s 


^^^ 


.?^_ 


s 


-• — •- 


^tt;i=t=i 


-h-r 


i^i^^f^^ 


fai=t 


.^_± 


^ 


I     I      I     I         I      ' 

r- 1— 75) 1— — I r-^ 0-r— 

— ^-T — »=r-Ef-'— 


.=^ 


I      I      I 


:*=t:i: 


127 


i 


m 


--:\-=\--t 


I    I 


m 


,_^__H__^- 


:q=  — 


^-^- 


a 


232. 


B.    Ducis.     1480—? 
Vater  Unser. 


i 


i 


^  f 


^" 


£ 


Lesson  XIX. 

Reduction. 

Reduction  in  the  eliminating  of  all  non-harmonic  and  unessential  chord 
tones,  and  the  retaining  of  only  those  necessary  for  a  simple  and  clear  harmoni- 
zation. It  will  be  seen  from  this  that  after  an  example  has  been  analyzed  har- 
monically, the  matter  of  reducing  it  is  comparatively  simple. 

As  regards  the  melody  to  be  reduced,  as  far  as  possible  follow  it  in  the 
reduction.     An  absolute  adherence  to  this  is,  however,  not  necessary. 

Melodies  which  transgress  the  limits  of  four  part  writing  should  be  raised 
or  lowered  so  as  to  come  within  the  limits. 

The  reduction  should  be  made  in  four  part  writing,  even  though  the  example 
to  be  reduced  is  only  in  one,  two  or  more  parts. 

Fig.  232  contains  several  examples  reduced  and  analyzed.  An  examination 
of  these  will  no  doubt  he  suggestive.  In  "6"  it  has  been  necessary  to  introduce 
five  voices  in  the  fourth  measure  owing  to  the  presence  of  a  complete  Vg  chord. 

i28 


233./ 


C.  IVi     lit     IVt     I 

m  [3»]    r-bi 
1 5,        ,| 


^f^^E^sEtef^ 


,^; 


■*-U-#-^ 


.>.^__'> 


4:^:^: 


Chopin.     Op.  28.  No.  19. 

Ap. 


^4 


'*>-  >* 


=U^t:^ 


:f:^»- 


=t:t:?t:t=zt 


:u^ 


-^t^-w^ 


Ap. 
Ap. 


tie: 


2^: 


1=1:^= 


I 


?5i-?-; 


:g3— -— 


it=: 


IB 


Eb  V, 


Beethoven.     Op,  106. 


c.  ^ 


A. 


:p=i= 


^— #- 


»—9 


\m:k 


^      -#-  A  —     ^  ^    4 


mm^^^^^ 


^^ 


1/ 


_:zi_ 


I 

D    V, 


Consecutive  dim.  7ths. 


Franck.     Beatitudes. 


234. 


LJ»^LB If^- 

M L^ 


^ 


m 


=&i=«*= 


rsi-'-^-EB^i'=i=tf«=*=^==f=,i^^Ff=^ 


131 


Beethovex.     Op.    106. 


( 

235./ 


:5^E2^E^^^^^^E^^^ 


^s^^L^^MJMj=m^ 


^^=w=^^=M=F^i^~^- 


132 


Pakkek.     Op.    30. 


Tempo  giuslo. 


236. 


=^^^*3='^^=^'^^=-^^^'"^ 


^^?; 


ii^ii^if3^Sli?i#H#B 


Mil  groetster  Energie. 


Schumann.     Op.  26,  Xo.  4. 

I 


237.  / 


S  ^"f  ^":i/l:'"Sis^fS:i8" 


;gg=5 


^wwn^'^mfw 


J 


1 


:^=^==i: 


2.1     ^L^-  :^  T^     Lit        2^     Li  T  T-  jj     Li  ^- 


i^=i: 


^^^^^^ 


J 


^^S^^ 


-|  -&--7-'--  =  -r^rr-  ^ 


-T  r  •- 


?.^H 


»- •      L^    -•- n-a-  -•- '      wi   -•-         ^•- 1      '    i  -»-        -•-!      '    i   -0- 


^i^^-^ ~-0 q ^ 3 


=fi 


?T|-|^|T-g»"V 


?*»^=^- 


¥^ 


5E 


^!5^ 


T^^ 


'-^^ 


:2S 


%^!^=5: 


l^-:^^?:^- 


i 


wt 


^jj 


/)o/ce  ^rf  espress. 


238. 


C'HOPIX.      Op.    11. 


^„^ — ^_  -_ 


— a#-r-^ # 

»"°  T  [_; — —  h- 


i=P=t:: 


U  I 


^^JI^^-j^ 


U 


Lesson  XX. 

The  remaining  lessons  consist  of  exercises,  which  will  serve  as  a  review 
of  the  preceding  lessons. 

EXERCISES. 

Franck.     Beatitudes. 


Moderato. 


1=t^ 


A ^ 


N  I 


i^ 


:?=1^^^^ 


239. 


e: 


?:z=# 


?:fc=^: 


:g=g 


^E: 


Jl 


Larghettn  calmato. 


MacDowell.     Op.  23. 


240.  < 


:iSz= 


^zz^-tz 


"hji:^^!^ 


zzt- 


T'ij-t.i^v^^-^ 


:t=: 


1 


^znzzm 


m 


$^-:^:zz^^:^^,EE:&z^f:^^^t^E^^ 


•i_cri_^_b.^ 


^^=^^^^: 


-•-      — (- 


^r 


r- > 


i^  ^ti>:    t:     ^ 


■Qr^j- 


-A-*--^= 


-tK-^:i|-i: 


F^it 


l2*5i 


^^ 


^ 


Xichi  schttell. 


Schumann.     Op.    72. 


241. 


trr 


K3: 


^^^ 


itdn^' 


^'T¥i    I 


1-'- 


m 


J^ y-^=p=z^:it 


^-#«=r 


£g| 


:=1=^: 


^'""^r     r~^ri'i^r~^'^~r'~i~Ljr~'^-F 


^ n— 


:=:±=£ir^£E3 


im 


I       ^ 


138 


z±=^z=M^a=zi 


I      I  JL 


"ME*- 


Perosi.     Lazarus. 


242. 


Adngio. 


I  ^    ^'     Lj     >  MM 


■^1 1 1 1 1 1 — I— ^  H-5# — »-+i.-,-R-# H--  i*.  ^ — • — e, 


giZ=i_^-rj:g 


ill 


243. 


A'legro. 


Elgar,     Caraetaciis. 

1     ^  I     s        . 


l."?9 


AUegro. 


Chopin.     Op.   14. 


244. 


E^ 


i=^=p=:J=J==J=z=g— ttj— . 


Ei:s 


1 


140 


Tranquillo 


Lesson  XXI, 

EXERCISES. 

Richard  Strauss.     Op.  10,  No.  8. 


245. 


PJ. 


t^^5==?=^=3=3::^' 


d=S=3EE3: 


'1^  I 


11 


-^-td- 1^- 


f 


fcT 


^=^j$i=t 


m^^m 


si 


fA=i 


'i3, 


J- 


rp- 


If 


-«= 


3        ''q: 


l^^^ie^B 


246.  < 


M^Mz 


pii^^^^E 


HOPMANN.     Cantata. 

I 


trt=*««if 


.  n    I 


-^:     ti. 


I^^H 


-=»-^ 


;^i- 


I 


m^ 


:r^^P^ 


::«•- 


r  '   r     II        III 


I  I  i 


Hz 1 — — L Hv — C — , 


1 


-t— *fr — I — 1 1 — 1= — t-i — I — I — ■ —  h- 


•— p 


^iq^tut 


—I — I h, — ' 


-i 1'"- 


^14-.-.- 


>       I 


:^ 


^?^.^fc 


1 


rC:     ^' 


m^^^^^^ 


-^ — »_ 


s^ 


247. 


AmlaiiCe  religioso. 


Grieg.     Op.  40,  No.  4. 


h^^M^S^^^rW^^ 


H-2:3=z^: 


■=Fq=: 


;g 


-^;_;s^-- 


i^.    ::;;-    ^-      -^     •  -^-    -».    -,-       .».        #       ^ 


142 


-0-    -0-       -0-  -g-       -g-  -0-    -9-     0-  -t-  -0-    ^0-     P  P 

ill  Lm^m^h^^ 


^-^-^^ 


-0 <& 


-»-         ^  P      P  \  i  "    ;  [  i  I 


I    I      I 


Em 


248. 


Andante  moderato. 


R.  Wagxer.     Lohengrin. 


f^: 


g^        I 


^r 


P^^i 


:1r^-=q: 


143 


:«--— 


^^-^^^^ 


gsi^ 


NjL-    ± 


m^. 


z=L^z:=^n- 


P> 


S^^ 


( 


— I — p 


:3Ei^EEffi 


q=-Tr=73^ 


^] 


.^«^ 


Jf^- 


Lesson  XXII. 

EXERCISES. 


Beethoven.     Op.    106. 


Allegro  risoluio. 


249. 


^i^^^M^fi^^fi 


^az;^z£=3S^ 


:tt?5±^ 


144 


— ^  STn  ^-^  ^_^ #_«i_*__<r^_=B»-^^ 


a:Tii:.2«„ 


»^ 


-^^^^^^^^^^"•^'"-^^'^  '"^^^^ 


^^5 1^ 


^-'^-f^i^r^^      ' 


^g 


a^n- 


i^3=^?5^»=*='=*^ 


^i^^r": uz. . J- 


:p==P= 


:Jfs=t 


r--=F=f=t:p=» 


ii^ 


^£^ 


i:^!^ 


i^^^£^giii 


=1 ^_: 


EB?     S=S     Bp-3     ^^  s 


A.   SCKIABINE.      Op.    2,    No.    1. 


250. 


•  y 


^r^^^^    i^fi: 


]=q=^=]: 


!^:±:!*4z-s— ;=i=i^i-=^ 


m 1 l»^B^^i^^: L 


W-t^^- 


W^=^ 


« — •- 


S^ 


^ 


v=^-^r*' 


I  ! 


•  -^ 


p — 0 »_X^ — ^ ^ L_j-J H^ L_, I 1 1^ 1 1 1 

J  ^A — 1^^ r-%0—»^^X=i—m #-t 


P"?     ^-•-       i       r^     ,  -:^      :^-   i^z^: 


^r ^_| (^ 


146 


( 


:Sfe? 


1 ir-rrT'l — ^r~l    !    !    v~-\ — f}  r 


•i  jL 


=We 


251. 


Cesar   Franck.     Beatitudes. 


Ptn  triinquWo.      ^T^  , 


i 


-?|i- 


.{2—- r_ 

r 


.t:^ 


1    J  tt^^'- 


at-fco: 


^•-^ 


P|^^E§;E||^|P^^£S^^ 


-5f— 


ttz=^ 


tt^^- 


M'; 


Chopin.     Op.  25,  No.  6. 


252.  ( 


[MrM^'m^ 


r^^      I     s^^^  r 


m 


b^T:^-S^^g^^_^  ^FlgSz,^^^S=g=;zz^S=.iS: 


\  ^^-*— 4t~i 1 1 — ! — ^t=*' — •—y-^ — -\ \- 


^i^if=t=: 


^g^g_|g;gHJ^SJ--r-g=[=l^5girg^ 


pVi==f 


^«^Sh«= 


Cl*- 


£5A— -s 


-<»T,-*I-P ^ 1 1^- 


-==1— J?  — 


i^^iili^ 


m^^^^^m 


253. 


Lesson  XXIII. 

EXERCISES. 


Elgar.     Op.   29. 


— ) ^— I — H — ^ — 0- 


^W"-^" 


!§:*:  J-      r  i 


^ 


rjpti: 


I   ITlT 


1^ 


^ 
^ 


:tM-^ Id: 


t:gS=^ 


>3— 1? 


^^-f'-^ci*-^--! 


£^=?^ 


=i==T 


•17  ir      f-    ^• 


I 


:t^ 


;s 


• N--^- 


wm--:=X 


2  2        _ 


•2  L         2 


2 


;^^^7":ri?v- 


^ 


See35?=JS3£:«^ 


n  It  '     r  j"f  fj 


^-t- 


^^=$^^--'- 


lin 


-«- — 0h-g- 


'-f=^^^: 


:^J: — *— ^    J       <^=I 


::t: 


-.--- 


=«^-- 


===1 — ^; 


IS 


i 


f5 


Chopin.     Op.  25,  No.  10. 


254 


.?l-_it-^=?g^=''= 


ttrzit 


St  L  I      :^>      !  I 


{^^^ 


^ 


I 


Wagner.     Tristan  and  Isolde. 

^ 


255. 


'^^^^ 


^ 


-rrl 


fl^EE: 


^1=3--= 


i=J^- 


itzii: 


M=^i 


-»^- 


:§il- 


::^: 


-m- 


nil 


-4r- 


ft^- 


5=^'^= 


J?     I 


'^•~ 


5^=z: 


:t=: 


i^S 


=^ 


4^--J- 


i 


>-Jfp- 


•  ^ 


J:^:J:' 


F=^= 


Kavel.     Sonatine. 


256.  < 


^"'"'*-  -J-  -#-1        ^^    I .      r**3-  •  -#-  -•-    I 


4^: 


;-t-^^- 


:5=it 


J 4- 


^    r^      ^  ^-    If:  It    f:      I  -4-    -•-      I 


^  T  r  i: 


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ig^E^EE^EF^^EE^^EEE^^ 


( S^^§^il^=?r^^El^E^^£^£pS 


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\I§J — , — .^gj^ — lr,i^_i_       t 


i       J.       I         -ri  ff'.  rt 


j^- — 


i 


Si 


257. 


Lesson  XXIV, 

EXEKClSKiS. 


Schumann.    Op.  111. 


ii 


rtti^-- 


-A-^—1M- 


A ^- 


tfe: 


12-^ 


--^-: 

f 


ll^^-zbi 


^ 


^i 


I 


aS^^X 


153 


-^ 


=^#= 


±i^r-p 


i^zz^ziwES^ 


1 


.3 


1^ 


im 


:^ 


-^ 


^_^ 


=CStz:zil^&p 


-=pz^r^&g 


:^' 


'-5^! 


I  -•' 


1 


u^  'J^ 


im 


|i,=T 


s 


=gs: 


-^—r 


258. 


Allegretto  n  n  moto. 


-Ci 


Strauss.     Op.  17,  No.  6. 


-^==^f^^=^- 


^gEz=t:^^ 


^^   I 


-t:^ 


«-•- 


,«9===iE^^E?=SE5*:?t±S^=iEE 


t^-.. 


=8 gf 


^fe*=^ 


izEjifr 


X—tttr. 


:^i — rr- 


-^^^^=^~- 


-^*- 


S?: 


z^t=t_tl#iz=:: 


g^-,     !^ 


f%-'. 


Fit-  T5:  ttKif:  M^ 


mx 

—^ hlTa — « « — ; 


X-^. 


i-%~ 


t=l=t: 


t==t5ii=^ 


— |:i:-~^_&-V 


'tfelff 


m3^ 


S 


te^iS^-^-- 


±1; 


=^1?=t 


2^S=1^«^ 


HI 


259. 


/*oco  o  poeo  ptM  animato. 


Wagner.     Parsifal. 


M^SizI: 


Szd=sJ='"^S=&t^SS^ 


(fe 


it^=--^-=fe^ 


I 


I 


.!22t 


g^f^: 


r-ttg- t^g 


:S^_^«: 


iffTtt:: 


if: 


liit?^ 


^^ttt 


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*it*: 


felf.*  »■ 


^^g^==|:r:r^:^t=^==^:=T^.^.  !  —  ^  ^ 


fc=:« 


?:fctt^z=*zz5: 


iHiii 


^  3 


>f 


li 


^#^!=r^r-«^^^E^ 


li^rCt^fcr:^ 


'"^^^•^•wi^f 


I 


-t^ * 


P=t: 


1 


^^^=^S 


ifet 


:tti!=fii?z:Fi?= 


I  I 


^=z:t«: 


&^ 


^&«=S 


iE^i^^ii^ 


s^^a 


End  of  Lesson  XXIV. 


156 


-."w^SiiSpf?'. 


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